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Theft
By
Jack London
Contents
CHARACTERS.
ACTORS' DESCRIPTION OF CHARACTERS.
ACT I - A ROOM IN THE HOUSE OF SENATOR CHALMERS
ACT II -
SCENE. SITTING ROOM OF HOWARD KNOX--DIMLY LIGHTED. TIME, EIGHT O'CLO=
CK
IN THE EVENING.
AC=
T III -
A ROOM IN THE WASHINGTON HOUSE OF ANTHONY STARKWEATHER SCENE.
Margaret Chalmers
Howard Knox
Thomas Chalmers
Master Thomas Chalmers
Ellery Jackson Hubbard
Anthony Starkweather
Mrs Starkweather
Connie Starkweather
Felix Dobleman
Linda Davis
Julius Rutland
John Gieford
Matsu Sakari
Dolores Ortega
Senator Dowsett Mrs Dowsett
Housekeeper, Servs
Wife of Senator Chalmers
A Congressman from Oregon
A United States Senator and several times
millionaire
Son of Margaret and Senator Chalmers
A Journalist
A great magnate, and father of Margaret Chalme=
rs
His wife
Their younger daughter
Secretary to Anthony Starkweather
Maid to Margaret Chalmers
Episcopalian Minister
Labor Agitator
Secretary of Japanese Embassy
Wife of Peruvian Minister
Agents, etc
=
Margaret Chalmers. Twenty-seven years of age; a
strong, mature woman, but quite feminine where her heart or sense of beauty=
are
concerned. Her eyes are wide apart. Has a dazzling smile, which she knows h=
ow
to use on occasion. Also, on occasion, she can be firm and hard, even cynic=
al
An intellectual woman, and at the same time a very womanly woman, capable of
sudden tendernesses, flashes of emotion, and abrupt actions. She is a finis=
hed
product of high culture and refinement, and at the same time possesses robu=
st
vitality and instinctive right-promptings that augur well for the future of=
the
race.
Howard Knox. He might have been a poet, but was
turned politician. Inflamed with love for humanity. Thirty-five years of ag=
e.
He has his vision, and must follow it. He has suffered ostracism because of=
it,
and has followed his vision in spite of abuse and ridicule. Physically, a
well-built, powerful man. Strong-featured rather than handsome. Very much in
earnest, and, despite his university training, a trifle awkward in carriage=
and
demeanor, lacking in social ease. He has been elected to Congress on a refo=
rm
ticket, and is almost alone in fight he is making. He has no party to back =
him,
though he has a following of a few independents and insurgents.
Thomas Chalmers. Forty-five to fifty years of =
age.
Iron-gray mustache. Slightly stout. A good liver, much given to Scotch and
soda, with a weak heart. Is liable to collapse any time. If anything, sligh=
tly
lazy or lethargic in his emotional life. One of the "owned" senat=
ors
representing a decadent New England state, himself master of the state
political machine. Also, he is nobody's fool. He possesses the brain and
strength of character to play his part. His most distinctive feature is his=
temperamental
opportunism.
Master Thomas Chalmers. Six years of age. Stur=
dy
and healthy despite his grandmother's belief to the contrary.
Ellery Jackson Hubbard. Thirty-eight to forty
years of age. Smooth-shaven. A star journalist with a national reputation; =
a large,
heavy-set man, with large head, large hands--everything about him is large.=
A
man radiating prosperity, optimism and selfishness. Has no morality whateve=
r.
Is a conscious individualist, cold-blooded, pitiless, working only for hims=
elf,
and believing in nothing but himself.
Anthony Starkweather. An elderly, well preserv=
ed
gentleman, slenderly built, showing all the signs of a man who has lived cl=
ean
and has been almost an ascetic. One to whom the joys of the flesh have had
little meaning. A cold, controlled man whose one passion is for power.
Distinctively a man of power. An eagle-like man, who, by keenness of brain =
and
force of character, has carved out a fortune of hundreds of millions. In sh=
ort,
an industrial and financial magnate of the first water and of the finest ty=
pe to
be found in the United States. Essentially a moral man, his rigid New Engla=
nd
morality has suffered a sea change and developed into the morality of the
master-man of affairs, equally rigid, equally uncompromising, but essential=
ly
Jesuitical in that he believes in doing wrong that right may come of it. He=
is
absolutely certain that civilization and progress rest on his shoulders and
upon the shoulders of the small group of men like him.
Mrs. Starkweather. Of the helpless, comfortably
stout, elderly type. She has not followed her husband in his moral evolutio=
n. She
is the creature of old customs, old prejudices, old New England ethics. She=
is
rather confused by the modern rush of life.
Connie Starkweather. Margaret's younger sister,
twenty years old. She is nothing that Margaret is, and everything that Marg=
aret
is not. No essential evil in her, but has no mind of her own--hopelessly a
creature of convention. Gay, laughing, healthy, buxom--a natural product of=
her
care-free environment.
Feux Dobleman. Private secretary to Anthony
Starkweather. A young man of correct social deportment, thoroughly and in a=
ll things
just the sort of private secretary a man like Anthony Starkweather would ha=
ve.
He is a weak-souled creature, timorous, almost effeminate.
Linda Davis. Maid to Margaret. A young woman of
twenty-five or so, blond, Scandinavian, though American-born. A cold woman,=
almost
featureless because of her long years of training, but with a hot heart deep
down, and characterized by an intense devotion to her mistress. Wild horses
could drag nothing from her where her mistress is concerned.
Junus Rutland. Having no strong features about
him, the type realizes itself.
John Gifford. A labor agitator. A man of the
people, rough-hewn, narrow as a labor-leader may well be, earnest and since=
re.
He is a proper, better type of labor-leader.
Matsu Sakari. Secretary of Japanese Embassy. H=
e is
the perfection of politeness and talks classical book-English. He bows a gr=
eat deal.
Dolores Ortega. Wife of Peruvian Minister; bri=
ght
and vivacious, and uses her hands a great deal as she talks, in the Latin-A=
merican
fashion.
Senator Dowsett. Fifty years of age; well
preserved.
Mrs. Dowsett. Stout and middle-aged.
=
<=
span
style=3D'font-size:12.0pt;mso-bidi-font-size:16.0pt;line-height:115%;mso-fa=
reast-font-family:
Calibri'>ACT I - A ROOM IN THE HOUSE OF SENATOR CHALMERS<=
span
class=3DHeading1Char>
=
Scene.
In Senator Chalmers' home. It is four o'clock in the afternoon, in a modern
living room with appropriate furnishings. In particular, in front, on left,=
a
table prepared for the serving of tea, all excepting the tea urn itself. At
rear, right of center, is main entrance to the room. Also, doorways at side=
s, on
left and right. Curtain discloses Chalmers and Hubbard seated loungingly at=
the
right front.
{Hubbard}
(After an apparent pause for cogitation.) I ca=
n't
understand why an old wheel-horse like Elsworth should kick over the traces
that way.
{Chalmers}
Disgruntled. Thinks he didn't get his fair sha=
re
of plums out of the Tariff Committee. Besides, it's his last term. He's
announced that he's going to retire.
{Hubbard}
(Snorting contemptuously, mimicking an old man=
's
pompous enunciation.) "A Resolution to Investigate the High Cost of Li=
ving!"--old
Senator Elsworth introducing a measure like that! The old buck!---- How are=
you
going to handle it?
{Chalmers}
It's already handled.
{Hubbard}
Yes?
{Chalmers}
(Pulling his mustache.) Turned it over to the
Committee to Audit and Control the Contingent Expenses of the Senate.
{Hubbard}
(Grinning his appreciation.) And you're chairm=
an.
Poor old Elsworth. This way to the lethal chamber, and the bill's on its wa=
y.
{Chalmers}
Elsworth will be retired before it's ever
reported. In the meantime, say after a decent interval, Senator Hodge will =
introduce
another resolution to investigate the high cost of living. It will be like =
Elsworth's,
only it won't.
{Hubbard}
(Nodding his head and anticipating.) And it wi=
ll
go to the Committee on Finance and come back for action inside of twenty-fo=
ur
hours.
{Chalmers}
By the way, I see Cartwright's Magazine has ce=
ased
muck-raking.
{Hubbard}
Cartwrights never did muck-rake--that is, not =
the
big Interests--only the small independent businesses that didn't advertise.=
{Chalmers}
Yes, it deftly concealed its reactionary
tendencies.
{Hubbard}
And from now on the concealment will be still =
more
deft. I've gone into it myself. I have a majority of the stock right now.
{Chalmers}
I thought I had noticed a subtle change in the
last two numbers.
{Hubbard}
(Nodding.) We're still going on muck-raking. We
have a splendid series on Aged Paupers, demanding better treatment and more=
sanitary
conditions. Also we are going to run "Barbarous Venezuela" and sh=
ow
up thoroughly the rotten political management of that benighted country.
{Chalmers}
(Nods approvingly, and, after a pause.) And now
concerning Knox. That's what I sent for you about. His speech comes off
tomorrow per schedule. At last we've got him where we want him.
{Hubbard}
I have the ins and outs of it pretty well.
Everything's arranged. The boys have their cue, though they don't know just
what's going to be pulled off; and this time to-morrow afternoon their disp=
atches
will be singing along the wires.
{Chalmers}
(Firmly and harshly.) This man Knox must be
covered with ridicule, swamped with ridicule, annihilated with ridicule.
{Hubbard}
It is to laugh. Trust the great American people
for that. We'll make those little Western editors sit up. They've been swea=
ring
by Knox, like a little tin god. Roars of laughter for them.
{Chalmers}
Do you do anything yourself?
{Hubbard}
Trust me. I have my own article for Cartwright=
's
blocked out. They're holding the presses for it. I shall wire it along hot-=
footed
to-morrow evening. Say----?
{Chalmers}
(After a pause.) Well?
{Hubbard}
Wasn't it a risky thing to give him his chance
with that speech?
{Chalmers}
It was the only feasible thing. He never has g=
iven
us an opening. Our service men have camped on his trail night and day. Priv=
ate life
as unimpeachable as his public life. But now is our chance. The gods have g=
iven
him into our hands. That speech will do more to break his influence--
{Hubbard}
(Interrupting.) Than a Fairbanks cocktail.
(Both laugh.) But don't forget that this Knox =
is a
live wire. Somebody might get stung. Are you sure, when he gets up to make =
that
speech, that he won't be able to back it up?
{Chalmers}
No danger at all.
{Hubbard}
But there are hooks and crooks by which facts =
are
sometimes obtained.
{Chalmers}
(Positively.) Knox has nothing to go on but
suspicions and hints, and unfounded assertions from the yellow press.
(Man-servant enters, goes to tea-table, looks =
it
over, and makes slight rearrangements.) (Lowering his voice.) He will make =
himself
a laughing stock. His charges will turn into boomerangs. His speech will be
like a sheet from a Sunday supplement, with not a fact to back it up. (Glan=
ces
at Servant.) We'd better be getting out of here. They're going to have tea.=
(The Servant, however, makes exit.) Come to the
library and have a high-ball. (They pause as Hubbard speaks.)
{Hubbard}
(With quiet glee.) And to-morrow Ali Baba gets
his.
{Chalmers}
Ali Baba?
{Hubbard}
That's what your wife calls him--Knox.
{Chalmers}
Oh, yes, I believe I've heard it before. It's
about time he hanged himself, and now we've given him the rope.
{Hubbard}
(Sinking voice and becoming deprecatingly
confidential. )
Oh, by the way, just a little friendly warning,
Senator Chalmers. Not so fast and loose up New York way. That certain lady,=
not
to be mentioned--there's gossip about it in the New York newspaper offices.=
Of
course, all such stories are killed. But be discreet, be discreet If Gherst
gets hold of it, he'll play it up against the Administration in all his pap=
ers.
(Chalmers, who throughout this speech is showi=
ng a
growing resentment, is about to speak, when voices are heard without and he
checks himself.)
(Enter. Mrs. Starkweather, rather flustered and
imminently in danger of a collapse, followed by Connie Starkweather, fresh,=
radiant,
and joyous.)
{Mrs. Starkweather}
(With appeal and relief.)
Oh----Tom!
(Chalmers takes her hand sympathetically and
protectingly.)
{Connie}
(Who is an exuberant young woman, bursts forth=
.)
Oh, brother-in-law! Such excitement! That's what's the matter with mother. =
We
ran into a go-cart. Our chauffeur was not to blame. It was the woman's faul=
t.
She tried to cross just as we were turning the corner. But we hardly grazed=
it.
Fortunately the baby was not hurt--only spilled. It was ridiculous. (Catchi=
ng
sight of Hubbard.) Oh, there you are, Mr. Hubbard. How de do.
(Steps half way to meet him and shakes hands w=
ith
him.) (Mrs. Starkweather looks around helplessly for a chair, and Chalmers =
conducts
her to one soothingly.)
{Mrs. Starkweather}
Oh, it was terrible! The little child might ha=
ve
been killed. And such persons love their babies, I know.
{Connie}
(To Chalmers.) Has father come? We were to pick
him up here. Where's Madge?
{Mrs. Starkweather}
(Espying Hubbard, faintly.) Oh, there is Mr.
Hubbard.
(Hubbard comes to her and shakes hands.) I sim=
ply
can't get used to these rapid ways of modern life. The motor-car is the inv=
ention
of the devil. Everything is too quick. When I was a girl, we lived sedately,
decorously. There was time for meditation and repose. But in this age there=
is
time for nothing. How Anthony keeps his head is more than I can understand.
But, then, Anthony is a wonderful man.
{Hubbard}
I am sure Mr. Starkweather never lost his head=
in
his life.
{Chalmers}
Unless when he was courting you, mother.
{Mrs. Starkweather}
(A trifle grimly.) I'm not so sure about that.=
{Connie}
(Imitating a grave, business-like enunciation.)
Father probably conferred first with his associates, then turned the affair
over for consideration by his corporation lawyers, and, when they reported =
no
flaws, checked the first spare half hour in his notebook to ask mother if s=
he
would have him.
(They laugh.) And looked at his watch at least
twice while he was proposing.
{Mrs. Starkweather}
Anthony was not so busy then as all that.
{Hubbard}
He hadn't yet taken up the job of running the =
United
States.
{Mrs. Starkweather}
I'm sure I don't know what he is running, but =
he
is a very busy man--business, politics, and madness; madness, politics, and=
business.
(She stops breathlessly and glances at tea-tab=
le.)
Tea. I should like a cup of tea. Connie, I shall stay for a cup of tea, and=
then,
if your father hasn't come, we'll go home. (To Chalmers.) Where is Tommy?
{Chalmers}
Out in the car with Madge.
(Glances at tea-table and consults watch.) She
should be back now.
{Connie}
Mother, you mustn't stay long. I have to dress=
.
{Chalmers}
Oh, yes, that dinner.
(Yawns.) I wish I could loaf to-night.
{Connie}
(Explaining to Hubbard.) The Turkish Charge
d'Affaires--I never can remember his name. But he's great fun--a positive j=
oy.
He's giving the dinner to the British Ambassador.
{Mrs. Starkweather}
(Starting forward in her chair and listening
intently.) There's Tommy, now.
(Voices of Margaret Chalmers and of Tommy heard
from without. Hers is laughingly protesting, while Tommy's is gleefully ins=
istent.)
(Margaret and Tommy appear and pause just outside door, holding each other's
hands, facing each other, too immersed in each other to be aware of the
presence of those inside the room. Margaret and Tommy are in street costume=
.)
{Tommy} (Laughing.)
But mama.
{Margaret}
(Herself laughing, but shaking her head.) No.
Tommy First--
{Margaret}
No; you must run along to Linda, now, mother's
boy. And we'll talk about that some other time.
(Tommy notices for the first time that there a=
re
persons in the room. He peeps in around the door and espies Mrs. Starkweath=
er. At
the same moment, impulsively, he withdraws his hands and runs in to Mrs.
Starkweather.)
{Tommy}
(Who is evidently fond of his grandmother.)
Grandma!
(They embrace and make much of each other.)
(Margaret enters, appropriately greeting the
others--a kiss (maybe) to Connie, and a slightly cold handshake to Hubbard.=
)
{Margaret}
(To Chalmers.) Now that you're here, Tom, you
mustn't run away.
(Greets Mrs. Starkweather.)
{Mrs. Starkweather}
(Turning Tommy's face to the light and looking=
at
it anxiously.) A trifle thin, Margaret.
{Margaret}
On the contrary, mother----
{Mrs. Starkweather}
(To Chalmers.) Don't you think so, Tom?
{Connie}
(Aside to Hubbard.) Mother continually worries=
about
his health.
{Hubbard}
A sturdy youngster, I should say.
{Tommy}
(To Chalmers.) I'm an Indian, aren't I, daddy?=
{Chalmers}
(Nodding his head emphatically.) And the
stoutest-hearted in the tribe.
(Linda appears in doorway, evidently looking f=
or Tommy,
and Chalmers notices her.) There's Linda looking for you, young stout heart=
.
{Margaret}
Take Tommy, Linda. Run along, mother's boy.
{Tommy}
Come along, grandma. I want to show you someth=
ing.
(He catches Mrs. Starkweather by the hand.
Protesting, but highly pleased, she allows him to lead her to the door, whe=
re
he extends his other hand to Linda. Thus, pausing in doorway, leading a wom=
an
by either hand, he looks back at Margaret.) (Roguishly.) Remember, mama, we=
're
going to scout in a little while.
{Margaret}
(Going to Tommy, and bending down with her arms
around him.) No, Tommy. Mama has to go to that horrid dinner to-night. But =
to-morrow
we'll play.
(Tommy is cast down and looks as if he might
pout.) Where is my little Indian now?
{Hubbard}
Be an Indian, Tommy.
{Tommy}
(Brightening up.)
All right, mama. To-morrow.----if you can't fi=
nd
time to-day.
(Margaret kisses him.) (Exit Tommy, Mrs.
Starkweather, and Linda, Tommy leading them by a hand in each of theirs.)
{Chalmers}
(Nodding to Hubbard, in low voice to Hubbard a=
nd
starting to make exit to right.) That high-ball.
(Hubbard disengages himself from proximity of
Connie, and starts to follow.)
{Connie}
(Reproachfully.) If you run away, I won't stop=
for
tea.
{Margaret}
Do stop, Tom. Father will be here in a few
minutes.
{Connie}
A regular family party.
{Chalmers}
All right. We'll be back. We're just going to =
have
a little talk.
(Chalmers and Hubbard make exit to right.)
(Margaret puts her arm impulsively around Connie--a sheerly spontaneous act=
of affection--kisses
her, and at same time evinces preparation to leave.)
{Margaret}
I've got to get my things off. Won't you wait
here, dear, in case anybody comes? It's nearly time.
(Starts toward exit to rear, but is stopped by
Connie.) Madge.
(Margaret immediately pauses and waits
expectantly, smiling, while Connie is hesitant.)
I want to speak to you about something, Madge.=
You
don't mind?
(Margaret, still smiling, shakes her head.) Ju=
st a
warning. Not that anybody could believe for a moment, there is anything wro=
ng, but----
{Margaret}
(Dispelling a shadow of irritation that has
crossed her face.)
If it concerns Tom, don't tell me, please. You
know he does do ridiculous things at times. But I don't let him worry me an=
y more;
so don't worry me about him.
(Connie remains silent, and Margaret grows
curious.) Well?
{Connie}
It's not about Tom--
(Pauses.) It's about you.
{Margaret}
Oh.
{Connie}
I don't know how to begin.
{Margaret}
By coming right out with it, the worst of it, =
all
at once, first.
{Connie}
It isn't serious at all, but--well, mother is
worrying about it. You know how old-fashioned she is. And when you consider=
our
position--father's and Tom's, I mean--it doesn't seem just right for you to=
be
seeing so much of such an enemy of theirs. He has abused them dreadfully, y=
ou
know. And there's that dreadful speech he is going to give to-morrow. You
haven't seen the afternoon papers. He has made the most terrible charges
against everybody--all of us, our friends, everybody.
{Margaret}
You mean Mr. Knox, of course. But he wouldn't =
harm
anybody, Connie, dear.
{Connie}
(Bridling,) Oh, he wouldn't? He as good as
publicly called father a thief.
{Margaret}
When did that happen? I never heard of it.
{Connie}
Well, he said that the money magnates had grow=
n so
unprincipled, sunk so low, that they would steal a mouse from a blind kitte=
n.
{Margaret}
I don't see what father has to do with that.
{Connie}
He meant him just the same.
{Margaret}
You silly goose. He couldn't have meant father.
Father? Why, father wouldn't look at anything less than fifty or a hundred =
millions.
{Connie}
And you speak to him and make much of him when=
you
meet him places. You talked with him for half an hour at that Dugdale recep=
tion.
You have him here in your own house--Tom's house--when he's such a bitter e=
nemy
of Tom's. (During the foregoing speech, Anthony Starkweather makes entrance
from rear. His face is grave, and he is in a brown study, as if pondering
weighty problems. At sight of the two women he pauses and surveys them. They
are unaware of his presence.)
{Margaret}
You are wrong, Connie. He is nobody's enemy. H=
e is
the truest, cleanest, most right-seeking man I have ever seen.
{Connie}
(Interrupting.) He is a trouble-maker, a distu=
rber
of the public peace, a shallow-pated demagogue--
{Margaret}
(Reprovingly.)
Now you're quoting somebody---- father, I supp=
ose.
To think of him being so abused--poor, dear Ali Baba--
{Starkweather}
(Clearing his throat in advertisement of his p=
resence.)
A-hem.
(Margaret and Connie turn around abruptly and
discover him.)
{Margaret}
And Connie Father!
(Both come forward to greet him, Margaret
leading.)
{Starkweather}
(Anticipating, showing the deliberate method of
the busy man saving time by eliminating the superfluous.) Fine, thank you. =
Quite
well in every particular. This Ali Baba? Who is Ali Baba?
(Margaret looks amused reproach at Connie.)
{Connie}
Mr. Howard Knox.
{Starkweather}
And why is he called Ali Baba?
{Margaret}
That is my nickname for him. In the den of
thieves, you know. You remember your Arabian Nights.
{Starkweather}
(Severely.) I have been wanting to speak to you
for some time, Margaret, about that man. You know that I have never interfe=
red with
your way of life since your marriage, nor with your and Tom's housekeeping
arrangements. But this man Knox. I understand that you have even had him he=
re
in your house--
{Margaret}
(Interrupting.) He is very liable to be here t=
his
afternoon, any time, now.
(Connie displays irritation at Margaret.)
{Starkweather}
(Continuing imperturbably.) Your house--you, my
daughter, and the wife of Senator Chalmers. As I said, I have not interfere=
d with
you since your marriage. But this Knox affair transcends household
arrangements. It is of political importance. The man is an enemy to our cla=
ss,
a firebrand. Why do you have him here?
{Margaret}
Because I like him. Because he is a man I am p=
roud
to call "friend." Because I wish there were more men like him, ma=
ny more
men like him, in the world. Because I have ever seen in him nothing but the
best and highest. And, besides, it's such good fun to see how one virtuous =
man
can so disconcert you captains of industry and arbiters of destiny. Confess
that you are very much disconcerted, father, right now. He will be here in a
few minutes, and you will be more disconcerted. Why? Because it is an affair
that transcends family arrangements. And it is your affair, not mine.
{Starkweather}
This man Knox is a dangerous character--one th=
at I
am not pleased to see any of my family take up with. He is not a gentleman.=
{Margaret}
He is a self-made man, if that is what you mea=
n,
and he certainly hasn't any money.
{Connie}
(Interrupting.) He says that money is theft--at
least when it is in the hands of a wealthy person.
{Starkweather}
He is uncouth--ignorant.
{Margaret}
I happen to know that he is a graduate of the
University of Oregon.
{Starkweather}
(Sneeringly.) A cow college. But that is not w=
hat
I mean. He is a demagogue, stirring up the wild-beast passions of the peopl=
e.
{Margaret}
Surely you would not call his advocacy of that
child labor bill and of the conservation of the forest and coal lands stirr=
ing
up the wild-beast passions of the people?
{Starkweather}
(Wearily.) You don't understand. When I say he=
is
dangerous it is because he threatens all the stabilities, because he threat=
ens us
who have made this country and upon whom this country and its prosperity re=
st.
(Connie, scenting trouble, walks across stage =
away
from them.)
{Margaret}
The captains of industry--the banking magnates=
and
the mergers?
{Starkweather}
Call it so. Call it what you will. Without us =
the
country falls into the hands of scoundrels like that man Knox and smashes t=
o ruin.
{Margaret}
(Reprovingly.) Not a scoundrel, father.
{Starkweather}
He is a sentimental dreamer, a hair-brained
enthusiast. It is the foolish utterances of men like him that place the bomb
and the knife in the hand of the assassin.
{Margaret}
He is at least a good man, even if he does dis=
agree
with you on political and industrial problems. And heaven knows that good m=
en are
rare enough these days.
{Starkweather}
I impugn neither his morality nor his
motives--only his rationality. Really, Margaret, there is nothing inherentl=
y vicious
about him. I grant that. And it is precisely that which makes him such a po=
wer
for evil.
{Margaret}
When I think of all the misery and pain which =
he
is trying to remedy--I can see in him only a power for good. He is not work=
ing for
himself but for the many. That is why he has no money. You have heaven alone
knows how many millions--you don't; you have worked for yourself.
{Starkweather}
I, too, work for the many. I give work to the
many. I make life possible for the many. I am only too keenly alive to the =
responsibilities
of my stewardship of wealth.
{Margaret}
But what of the child laborers working at the
machines? Is that necessary, O steward of wealth? How my heart has ached for
them! How I have longed to do something for them--to change conditions so t=
hat
it will no longer be necessary for the children to toil, to have the playti=
me
of childhood stolen away from them. Theft--that is what it is, the playtime=
of
the children coined into profits. That is why I like Howard Knox. He calls
theft theft. He is trying to do something for those children. What are you
trying to do for them?
{Starkweather}
Sentiment. Sentiment. The question is too vast=
and
complicated, and you cannot understand. No woman can understand. That is why
you run to sentiment. That is what is the matter with this Knox--sentiment.=
You
can't run a government of ninety millions of people on sentiment, nor on
abstract ideas of justice and right.
{Margaret}
But if you eliminate justice and right, what
remains?
{Starkweather}
This is a practical world, and it must be mana=
ged
by practical men--by thinkers, not by near-thinkers whose heads are addled =
with
the half-digested ideas of the French Encyclopedists and Revolutionists of a
century and a half ago.
(Margaret shows signs of impatience--she is not
particularly perturbed by this passage-at-arms with her father, and is anxi=
ous to
get off her street things.)
Don't forget, my daughter, that your father kn=
ows
the books as well as any cow college graduate from Oregon. I, too, in my st=
udent
days, dabbled in theories of universal happiness and righteousness, saw my
vision and dreamed my dream. I did not know then the weakness, and frailty,=
and
grossness of the human clay. But I grew out of that and into a man. Some men
never grow out of that stage. That is what is the trouble with Knox. He is
still a dreamer, and a dangerous one.
(He pauses a moment, and then his thin lips sh=
ut
grimly. But he has just about shot his bolt.)
{Margaret}
What do you mean?
{Starkweather}
He has let himself in to give a speech to-morr=
ow,
wherein he will be called upon to deliver the proofs of all the lurid charg=
es
he has made against the Administration--against us, the stewards of wealth =
if
you please. He will be unable to deliver the proofs, and the nation will la=
ugh.
And that will be the political end of Mr. Ali Baba and his dream.
{Margaret}
It is a beautiful dream. Were there more like =
him
the dream would come true. After all, it is the dreamers that build and tha=
t never
die. Perhaps you will find that he is not so easily to be destroyed. But I
can't stay and argue with you, father. I simply must go and get my things o=
ff.
(To Connie.) You'll have to receive, dear. I'l=
l be
right back.
(Julius Rutland enters. Margaret advances to m=
eet
him, shaking his hand.) You must forgive me for deserting for a moment.
{Rutland}
(Greeting the others.) A family council, I see=
.
{Margaret}
(On way to exit at rear.) No; a discussion on
dreams and dreamers. I leave you to bear my part.
{Rutland}
(Bowing.) With pleasure. The dreamers are the =
true
architects. But--a--what is the dream and who is the dreamer?
{Margaret}
(Pausing in the doorway.) The dream of social
justice, of fair play and a square deal to everybody. The dreamer--Mr. Knox=
.
(Rutland is so patently irritated, that Margar=
et
lingers in the doorway to enjoy.)
{Rutland}
That man! He has insulted and reviled the
Church--my calling. He--
{Connie}
(Interrupting.) He said the churchmen stole fr=
om
God. I remember he once said there had been only one true Christian and tha=
t He
died on the Cross.
{Margaret}
He quoted that from Nietzsche.
{Starkweather}
(To Rutland, in quiet glee.) He had you there.=
{Rutland}
(In composed fury.) Nietzsche is a blasphemer,
sir. Any man who reads Nietzsche or quotes Nietzsche is a blasphemer. It au=
gurs
ill for the future of America when such pernicious literature has the vogue=
it
has.
{Margaret}
(Interrupting, laughing.) I leave the quarrel =
in
your hands, sir knight. Remember--the dreamer and the dream. (Margaret make=
s exit.)
{Rutland}
(Shaking his head.) I cannot understand what is
coming over the present generation. Take your daughter, for instance. Ten y=
ears
ago she was an earnest, sincere lieutenant of mine in all our little charit=
ies.
{Starkweather}
Has she given charity up?
{Connie}
It's settlement work, now, and kindergartens.<= o:p>
{Rutland}
(Ominously.) It's writers like Nietzsche, and =
men
who read him, like Knox, who are responsible.
(Senator Dowsett and Mrs. Dowsett enter from
rear.)
(Connie advances to greet them. Rutland knows =
Mrs.
Dowsett, and Connie introduces him to Senator Dowsett.)
(In the meantime, not bothering to greet anybo=
dy,
evincing his own will and way, Starkweather goes across to right front, sel=
ects
one of several chairs, seats himself, pulls a thin note-book from inside co=
at
pocket, and proceeds to immerse himself in contents of same.) (Dowsett and
Rutland pair and stroll to left rear and seat themselves, while Connie and =
Mrs.
Dowsett seat themselves at tea-table to left front. Connie rings the bell f=
or
Servant.)
{Mrs. Dowsett}
(Glancing significantly at Starkweather, and
speaking in a low voice.) That's your father, isn't it? I have so wanted to
meet him.
{Connie} (Softly.) You know he's peculiar. He =
is
liable to ignore everybody here this afternoon, and get up and go away
abruptly, without saying good-bye.
{Mrs. Dowsett}
(Sympathetically. ) Yes, I know, a man of such
large affairs. He must have so much on his mind. He is a wonderful man--my
husband says the greatest in contemporary history--more powerful than a doz=
en
presidents, the King of England, and the Kaiser, all rolled into one.
(Servant enters with tea urn and accessories, =
and
Connie proceeds to serve tea, all accompanied by appropriate patter--"=
Two
lumps?" "One, please." "Lemon;" etc.)
(Rutland and Dowsett come forward to table for
their tea, where they remain.)
(Connie, glancing apprehensively across at her
father and debating a moment, prepares a cup for him and a small plate with
crackers, and hands them to Dowsett, who likewise betrays apprehensiveness.=
)
{Connie}
Take it to father, please, senator.
(Note:--Throughout the rest of this act,
Starkweather is like a being apart, a king sitting on his throne. He divides
the tea function with Margaret. Men come up to him and speak with him. He s=
ends
for men. They come and go at his bidding. The whole attitude, perhaps
unconsciously on his part, is that wherever he may be he is master. This
attitude is accepted by all the others; forsooth, he is indeed a great man =
and
master. The only one who is not really afraid of him is Margaret; yet she g=
ives
in to him in so far as she lets him do as he pleases at her afternoon tea.)=
(Dowsett
carries the cup of tea and small plate across stage to Starkweather.
Starkweather does not notice him at first.)
{Connie}
(Who has been watching.) Tea, father, won't you
have a cup of tea?
(Through the following scene between Starkweat=
her
and Dowsett, the latter holds cup of tea and crackers, helplessly, at a dis=
advantage.
At the same time Rutland is served with tea and remains at the table, talki=
ng
with the two women.)
{Starkweather}
(Looking first at Connie, then peering into cu=
p of
tea. He grunts refusal, and for the first time looks up into the other man'=
s face.
He immediately closes note-book down on finger to keep the place.) Oh, it's
you. Dowsett.
(Painfully endeavoring to be at ease.) A pleas=
ure,
Mr. Starkweather, an entirely unexpected pleasure to meet you here. I was n=
ot
aware you frequented frivolous gatherings of this nature.
{Starkweather}
(Abruptly and peremptorily.) Why didn't you co=
me
when you were sent for this morning?
{Dowsett}
I was sick--I was in bed.
{Starkweather}
That is no excuse, sir. When you are sent for =
you
are to come. Understand? That bill was reported back. Why was it reported b=
ack?
You told Dobleman you would attend to it.
{Dowsett}
It was a slip up. Such things will happen.
{Starkweather}
What was the matter with that committee? Have =
you
no influence with the Senate crowd? If not, say so, and I'll get some one w=
ho has.
{Dowsett}
(Angrily.) I refuse to be treated in this mann=
er,
Mr. Starkweather. I have some self-respect--
(Starkweather grunts incredulously.) Some
decency--
(Starkweather grunts.) A position of prominenc=
e in
my state. You forget, sir, that in our state organization I occupy no mean =
place.
{Starkweather}
(Cutting him off so sharply that Dowsett drops=
cup
and saucer.) Don't you show your teeth to me. I can make you or break you. =
That
state organization of yours belongs to me.
(Dowsett starts--he is learning something new.=
To
hide his feelings, he stoops to pick up cup and saucer.) Let it alone! I am
talking to you.
(Dowsett straightens up to attention with
alacrity.) (Connie, who has witnessed, rings for Servant.) I bought that st=
ate organization,
and paid for it. You are one of the chattels that came along with the machi=
ne.
You were made senator to obey my orders. Understand? Do you understand?
{Dowsett}
(Beaten.) I--I understand.
{Starkweather}
That bill is to be killed.
{Dowsett}
Yes, sir.
{Starkweather}
Quietly, no headlines about it.
(Dowsett nods.) Now you can go.
(Dowsett proceeds rather limply across to join
group at tea-table.) (Chalmers and Hubbard enter from right, laughing about
something. At sight of Starkweather they immediately become sober.) (No han=
ds
are shaken. Starkweather barely acknowledges Hubbard's greeting.)
{Starkweather}
Tom, I want to see you.
(Hubbard takes his cue, and proceeds across to
tea-table.)
(Enter Servant. Connie directs him to remove
broken cup and saucer. While this is being done, Starkweather remains silen=
t. He
consults note-book, and Chalmers stands, not quite at ease, waiting the oth=
er's
will. At the same time, patter at tea-table. Hubbard, greeting others and
accepting or declining cup of tea.)
(Servant makes exit).
{Starkweather}
(Closing finger on book and looking sharply at
Chalmers.) Tom, this affair of yours in New York must come to an end.
Understand?
{Chalmers}
(Starting.) Hubbard has been talking.
{Starkweather}
No, it is not Hubbard. I have the reports from
other sources.
{Chalmers}
It is a harmless affair.
{Starkweather}
I happen to know better. I have the whole reco=
rd.
If you wish, I can give you every detail, every meeting. I know. There is n=
o discussion
whatever. I want no more of it.
{Chalmers}
I never dreamed for a moment that I
was--er--indiscreet.
{Starkweather}
Never forget that every indiscretion of a man =
in
your position is indiscreet. We have a duty, a great and solemn duty to
perform. Upon our shoulders rest the destinies of ninety million people. If=
we
fail in our duty, they go down to destruction. Ignorant demagogues are work=
ing
on the beast-passions of the people. If they have their way, they are lost,=
the
country is lost, civilization is lost. We want no more Dark Ages.
{Chalmers}
Really, I never thought it was as serious as a=
ll
that.
{Starkweather}
(Shrugging shoulders and lifting eyebrows.) Af=
ter
all, why should you? You are only a cog in the machine. I, and the several =
men grouped
with me, am the machine. You are a useful cog--too useful to lose--
{Chalmers}
Lose?--Me?
{Starkweather}
I have but to raise my hand, any time--do you
understand?--any time, and you are lost. You control your state. Very well.=
But
never forget that to-morrow, if I wished, I could buy your whole machine out
from under you. I know you cannot change yourself, but, for the sake of the=
big
issues at stake, you must be careful, exceedingly careful. We are compelled=
to
work with weak tools. You are a good liver, a flesh-pot man. You drink too =
much.
Your heart is weak.--Oh, I have the report of your doctor. Nevertheless, do=
n't
make a fool of yourself, nor of us. Besides, do not forget that your wife i=
s my
daughter. She is a strong woman, a credit to both of us. Be careful that you
are not a discredit to her.
{Chalmers}
All right, I'll be careful. But while we
are--er--on this subject, there's something I'd like to speak to you about.=
(A pause, in which Starkweather waits
non-committally.) It's this man Knox, and Madge. He comes to the house. They
are as thick as thieves.
{Starkweather}
Yes?
{Chalmers}
(Hastily.) Oh, not a breath of suspicion or
anything of that sort, I assure you. But it doesn't strike me as exactly ap=
propriate
that your daughter and my wife should be friendly with this fire-eating
anarchist who is always attacking us and all that we represent.
{Starkweather}
I started to speak with her on that subject, b=
ut
was interrupted.
(Puckers brow and thinks.) You are her husband.
Why don't you take her in hand yourself?
(Enters Mrs. Starkweather from rear, looking
about, bowing, then locating Starkweather and proceeding toward him.)
{Chalmers}
What can I do? She has a will of her own--the =
same
sort of a will that you have. Besides, I think she knows about my--about so=
me
of my--indiscretions.
{Starkweather}
(Slyly.)
Harmless indiscretions?
(Chalmers is about to reply, but observes Mrs.
Starkweather approaching.)
{Mrs. Starkweather}
(Speaks in a peevish, complaining voice, and
during her harrangue Starkweather immerses himself in notebook.) Oh, there =
you
are, Anthony. Talking politics, I suppose. Well, as soon as I get a cup of =
tea
we must go. Tommy is not looking as well as I could wish. Margaret loves hi=
m,
but she does not take the right care of him. I don't know what the world is
coming to when mothers do not know how to rear their offspring. There is
Margaret, with her slum kindergartens, taking care of everybody else's chil=
dren
but her own. If she only performed her church duties as eagerly! Mr. Rutlan=
d is
displeased with her. I shall give her a talking to--only, you'd better do i=
t,
Anthony. Somehow, I have never counted much with Margaret. She is as set in
doing what she pleases as you are. In my time children paid respect to thei=
r parents.
This is what comes of speed. There is no time for anything. And now I must =
get
my tea and run. Connie has to dress for that dinner.
(Mrs. Starkweather crosses to table, greets ot=
hers
characteristically and is served with tea by Connie.)
(Chalmers waits respectfully on Starkweather.)=
{Starkweather}
(Looking up from note-book.) That will do, Tom=
.
(Chalmers is just starting across to join othe=
rs,
when voices are heard outside rear entrance, and Margaret enters with Dolor=
es Ortega,
wife of the Peruvian Minister, and Matsu Sakari, Secretary of Japanese
Legation--both of whom she has met as they were entering the house.)
(Chalmers changes his course, and meets the ab=
ove
advancing group. He knows Dolores Ortega, whom he greets, and is introduced=
to
Sakari.)
(Margaret passes on among guests, greeting the=
m,
etc. Then she displaces Connie at tea-table and proceeds to dispense tea to=
the
newcomers.)
(Groups slowly form and seat themselves about
stage as follows: Chalmers and Dolores Ortega; Rutland, Dowsett, Mrs.
Starkweather; Connie, Mr. Dowsett, and Hubbard.)
(Chalmers carries tea to Dolores Ortega.)
(Sakari has been lingering by table, waiting f=
or
tea and pattering with Margaret, Chalmers, etc.)
{Margaret}
(Handing cup to Sakari.) I am very timid in
offering you this, for I am sure you must be appalled by our barbarous meth=
ods
of making tea.
{Sakari}
(Bowing.) It is true, your American tea, and t=
he
tea of the English, are quite radically different from the tea in my countr=
y.
But one learns, you know. I served my apprenticeship to American tea long y=
ears
ago, when I was at Yale. It was perplexing, I assure you--at first, only at
first I really believe that I am beginning to have a--how shall I call it?-=
-a tolerance
for tea in your fashion.
{Margaret}
You are very kind in overlooking our shortcomi=
ngs.
{Sakari}
(Bowing.) On the contrary, I am unaware, always
unaware, of any shortcomings of this marvelous country of yours.
{Margaret}
(Laughing.) You are incorrigibly gracious, Mr.
Sakari. (Knox appears at threshold of rear entrance and pauses irresolutely=
for
a moment)
{Sakari}
(Noticing Knox, and looking about him to select
which group he will join.) If I may be allowed, I shall now retire and cons=
ume this--tea.
(Joins group composed of Connie, Mrs. Dowsett,=
and
Hubbard.)
(Knox comes forward to Margaret, betraying a
certain awkwardness due to lack of experience in such social functions. He
greets Margaret and those in the group nearest her.)
{Knox}
(To Margaret.) I don't know why I come here. I=
do
not belong. All the ways are strange.
{Margaret}
(Lightly, at the same time preparing his tea.)=
The
same Ali Baba--once again in the den of the forty thieves. But your watch a=
nd
pocket-book are safe here, really they are.
(Knox makes a gesture of dissent at her
facetiousness.) Now don't be serious. You should relax sometimes. You live =
too
tensely.
(Looking at Starkweather.) There's the arch-an=
arch
over there, the dragon you are trying to slay.
(Knox looks at Starkweather and is plainly
perplexed.) The man who handles all the life insurance funds, who controls =
more
strings of banks and trust companies than all the Rothschilds a hundred tim=
es
over--the merger of iron and steel and coal and shipping and all the other
things--the man who blocks your child labor bill and all the rest of the re=
medial
legislation you advocate. In short, my father.
{Knox}
(Looking intently at Starkweather.) I should h=
ave
recognized him from his photographs. But why do you say such things?
{Margaret}
Because they are true.
(He remains silent.) Now, aren't they? (She
laughs.) Oh, you don't need to answer. You know the truth, the whole bitter
truth. This is a den of thieves. There is Mr. Hubbard over there, for insta=
nce,
the trusty journalist lieutenant of the corporations.
{Knox}
(With an expression of disgust.) I know him. It
was he that wrote the Standard Oil side of the story, after having abused
Standard Oil for years in the pseudo-muck-raking magazines. He made them co=
me
up to his price, that was all. He's the star writer on Cartwright's, now, s=
ince
that magazine changed its policy and became subsidizedly reactionary. I know
him--a thoroughly dishonest man. Truly am I Ali Baba, and truly I wonder wh=
y I
am here.
{Margaret}
You are here, sir, because I like you to come.=
{Knox}
We do have much in common, you and I.
{Margaret}
The future.
{Knox}
(Gravely, looking at her with shining eyes.) I
sometimes fear for more immediate reasons than that.
(Margaret looks at him in alarm, and at the sa=
me
time betrays pleasure in what he has said.) For you.
{Margaret}
(Hastily.) Don't look at me that way. Your eyes
are flashing. Some one might see and misunderstand.
{Knox}
(In confusion, awkwardly.) I was unaware that
I--that I was looking at you----in any way that----
{Margaret}
I'll tell you why you are here. Because I sent=
for
you.
{Knox}
(With signs of ardor.) I would come whenever y=
ou
sent for me, and go wherever you might send me.
{Margaret}
(Reprovingly.)
Please, please---- It was about that speech. I
have been hearing about it from everybody--rumblings and mutterings and dir=
e prophecies.
I know how busy you are, and I ought not to have asked you to come. But the=
re
was no other way, and I was so anxious.
{Knox}
(Pleased.) It seems so strange that you, being
what you are, affiliated as you are, should be interested in the welfare of=
the
common people.
{Margaret}
(Judicially.) I do seem like a traitor in my o=
wn
camp. But as father said a while ago, I, too, have dreamed my dream. I did =
it as
a girl--Plato's Republic, Moore's Utopia--I was steeped in all the dreams of
the social dreamers.
(During all that follows of her speech, Knox is
keenly interested, his eyes glisten and he hangs on her words.)
And I dreamed that I, too, might do something =
to
bring on the era of universal justice and fair play. In my heart I dedicate=
d myself
to the cause of humanity. I made Lincoln my hero-he still is. But I was onl=
y a
girl, and where was I to find this cause?--how to work for it? I was shut i=
n by
a thousand restrictions, hedged in by a thousand conventions. Everybody lau=
ghed
at me when I expressed the thoughts that burned in me. What could I do? I w=
as
only a woman. I had neither vote nor right of utterance. I must remain sile=
nt.
I must do nothing. Men, in their lordly wisdom, did all. They voted, orated,
governed. The place for women was in the home, taking care of some lordly m=
an who
did all these lordly things.
{Knox}
You understand, then, why I am for equal suffr=
age.
{Margaret}
But I learned--or thought I learned. Power, I
discovered early. My father had power. He was a magnate--I believe that is =
the correct
phrase. Power was what I needed. But how? I was a woman. Again I dreamed my
dream--a modified dream. Only by marriage could I win to power. And there y=
ou
have the clew to me and what I am and have become. I met the man who was to
become my husband. He was clean and strong and an athlete, an outdoor man, a
wealthy man and a rising politician. Father told me that if I married him he
would make him the power of his state, make him governor, send him to the U=
nited
States Senate. And there you have it all.
{Knox}
Yes?---- Yes?
{Margaret}
I married. I found that there were greater for=
ces
at work than I had ever dreamed of. They took my husband away from me and
molded him into the political lieutenant of my father. And I was without po=
wer.
I could do nothing for the cause. I was beaten. Then it was that I got a new
vision. The future belonged to the children. There I could play my woman's
part. I was a mother. Very well. I could do no better than to bring into the
world a healthy son and bring him up to manhood healthy and wholesome, clea=
n,
noble, and alive. Did I do my part well, through him the results would be a=
chieved.
Through him would the work of the world be done in making the world healthi=
er
and happier for all the human creatures in it. I played the mother's part. =
That
is why I left the pitiful little charities of the church and devoted myself=
to
settlement work and tenement house reform, established my kindergartens, and
worked for the little men and women who come so blindly and to whom the fut=
ure
belongs to make or mar.
{Knox}
You are magnificent. I know, now, why I come w=
hen
you bid me come.
{Margaret}
And then you came. You were magnificent. You w=
ere
my knight of the windmills, tilting against all power and privilege, strivi=
ng to
wrest the future from the future and realize it here in the present, now. I=
was
sure you would be destroyed. Yet you are still here and fighting valiantly.=
And
that speech of yours to-morrow--
{Chalmers}
(Who has approached, bearing Dolores Ortega's
cup.) Yes, that speech. How do you do, Mr. Knox.
(They shake hands.) A cup of tea, Madge. For M=
rs.
Ortega. Two lumps, please.
(Margaret prepares the cup of tea.) Everybody =
is
excited over that speech. You are going to give us particular fits, to-morr=
ow, I
understand.
{Knox}
(Smiling.) Really, no more than is deserved.
{Chalmers}
The truth, the whole truth, and nothing but the
truth?
{Knox}
Precisely.
(Receiving back cup of tea from Margaret.)
{Chalmers}
Believe me, we are not so black as we're paint=
ed.
There are two sides to this question. Like you, we do our best to do what i=
s right.
And we hope, we still hope, to win you over to our side.
(Knox shakes his head with a quiet smile.)
{Margaret}
Oh, Tom, be truthful. You don't hope anything =
of
the sort. You know you are hoping to destroy him.
{Chalmers}
(Smiling grimly.) That is what usually happens=
to
those who are not won over.
(Preparing to depart with cup of tea; speaking=
to
Knox.) You might accomplish much good, were you with us. Against us you acc=
omplish
nothing, absolutely nothing.
(Returns to Dolores Ortega.)
{Margaret}
(Hurriedly.) You see. That is why I was
anxious--why I sent for you. Even Tom admits that they who are not won over=
are
destroyed. This speech is a crucial event. You know how rigidly they rule t=
he
House and gag men like you. It is they, and they alone, who have given you
opportunity for this speech? Why?--Why?
{Knox}
(Smiling confidently.) I know their little sch=
eme.
They have heard my charges. They think I am going to make a firebrand speec=
h,
and they are ready to catch me without the proofs. They are ready in every =
way
for me. They are going to laugh me down. The Associated Press, the Washingt=
on
correspondents--all are ready to manufacture, in every newspaper in the lan=
d,
the great laugh that will destroy me. But I am fully prepared, I have--
{Margaret}
The proofs?
{Knox}
Yes.
{Margaret}
Now?
{Knox}
They will be delivered to me to-night--original
documents, photographs of documents, affidavits--
{Margaret}
Tell me nothing. But oh, do be careful! Be
careful!
{Mrs. Dowsett}
(Appealing to Margaret.) Do give me some
assistance, Mrs. Chalmers.
(Indicating Sakari.) Mr. Sakari is trying to m=
ake
me ridiculous.
{Margaret}
Impossible.
{Mrs. Dowsett}
But he is. He has had the effrontery--
{Chalmers}
(Mimicking Mrs. Dowsett.) Effrontery!--O, Saka=
ri!
{Sakari}
The dear lady is pleased to be facetious.
{Mrs. Dowsett}
He has had the effrontery to ask me to explain=
the
cause of high prices. Mr. Dowsett says the reason is that the people are li=
ving
so high.
{Sakari}
Such a marvelous country. They are poor because
they have so much to spend.
{Chalmers}
Are not high prices due to the increased outpu=
t of
gold?
{Mrs. Dowsett}
Mr. Sakari suggested that himself, and when I agreed with him he proceeded to demolish it. He has treated me dreadfully.<= o:p>
{Rutland}
(Clearing his throat and expressing himself wi=
th
ponderous unction.) You will find the solution in the drink traffic. It is
liquor, alcohol, that is undermining our industry, our institutions, our fa=
ith
in God--everything. Yearly the working people drink greater quantities of
alcohol. Naturally, through resulting inefficiency, the cost of production =
is
higher, and therefore prices are higher.
{Dowsett}
Partly so, partly so. And in line with it, and=
in
addition to it, prices are high because the working class is no longer thri=
fty.
If our working class saved as the French peasant does, we would sell more in
the world market and have better times.
{Sakari} (Bowing.) As I understand it then, the
more thrifty you are the more you save, and the more you save the more you =
have
to sell, the more you sell, the better the times?
{Dowsett}
Exactly so. Exactly.
{Sakari}
The less you sell, the harder are the times?
{Dowsett}
Just so.
{Sakari}
Then if the people are thrifty, and buy less,
times will be harder?
{Dowsett}
(Perplexed.) Er--it would seem so.
{Sakari}
Then it would seem that the present bad times =
are
due to the fact that the people are thrifty, rather than not thrifty?
(Dowsett is nonplussed, and Mrs. Dowsett throw=
s up
her hands in despair.)
{Mrs. Dowsett}
(Turning to Knox.) Perhaps you can explain to =
us,
Mr. Knox, the reason for this terrible condition of affairs.
(Starkweather closes note-book on finger and
listens.) (Knox smiles, but does not speak.)
{Dolores Ortega}
Please do, Mr. Knox. I am so dreadfully anxiou=
s to
know why living is so high now. Only this morning I understand meat went up
again.
(Knox hesitates and looks questioningly at
Margaret.)
{Hubbard}
I am sure Mr. Knox can shed new light on this
perplexing problem.
{Chalmers}
Surely you, the whirlwind of oratorical swords=
in
the House, are not timid here--among friends.
{Knox} (Sparring.) I had no idea that question=
s of
such nature were topics of conversation at affairs like this.
{Starkweather}
(Abruptly and imperatively.) What causes the h=
igh
prices?
{Knox}
(Equally abrupt and just as positive as the ot=
her
was imperative.) Theft!
(It is a sort of a bombshell he has exploded, =
but
they receive it politely and smilingly, even though it has shaken them up.)=
{Dolores Ortega}
What a romantic explanation. I suppose everybo=
dy
who has anything has stolen it.
{Knox}
Not quite, but almost quite. Take motorcars, f=
or
example. This year five hundred million dollars has been spent for motor-ca=
rs. It
required men toiling in the mines and foundries, women sewing their eyes ou=
t in
sweat-shops, shop girls slaving for four and five dollars a week, little
children working in the factories and cotton-mills--all these it required to
produce those five hundred millions spent this year in motor-cars. And all =
this
has been stolen from those who did the work.
{Mrs. Starkweather}
I always knew those motor-cars were to blame f=
or
terrible things.
{Dolores Ortega}
But Mr. Knox, I have a motor-car.
{Knox}
Somebody's labor made that car. Was it yours?<= o:p>
{Dolores Ortega}
Mercy, no! I bought it---- and paid for it.
{Knox}
Then did you labor at producing something else=
, and
exchange the fruits of that labor for the motor-car?
(A pause.)
You do not answer. Then I am to understand that
you have a motor-car which was made by somebody else's labor and for which =
you
gave no labor of your own. This I call theft. You call it property. Yet it =
is
theft.
{Starkweather}
(Interrupting Dolores Ortega who was just abou=
t to
speak.)
But surely you have intelligence to see the
question in larger ways than stolen motor-cars. I am a man of affairs. I do=
n't
steal motor-cars.
{Knox}
(Smiling.) Not concrete little motor-cars, no.=
You
do things on a large scale.
{Starkweather}
Steal?
{Knox}
(Shrugging his shoulders.) If you will have it=
so.
{Starkweather}
I am like a certain gentleman from Missouri.
You've got to show me.
{Knox}
And I'm like the man from Texas. It's got to be
put in my hand.
{Starkweather}
I shift my residence at once to Texas. Put it =
in
my hand that I steal on a large scale.
{Knox}
Very well. You are the great financier, merger,
and magnate. Do you mind a few statistics?
{Starkweather}
Go ahead.
{Knox}
You exercise a controlling interest in nine
billion dollars' worth of railways; in two billion dollars' worth of indust=
rial
concerns; in one billion dollars' worth of life insurance groups; in one
billion dollars' worth of banking groups; in two billion dollars' worth of
trust companies. Mind you, I do not say you own all this, but that you exer=
cise
a controlling interest. That is all that is necessary. In short, you exerci=
se a
controlling interest in such a proportion of the total investments of the U=
nited
States, as to set the pace for all the rest. Now to my point. In the last f=
ew
years seventy billions of dollars have been artificially added to the
capitalization of the nation's industries. By that I mean water--pure,
unadulterated water. You, the merger, know what water means. I say seventy
billions. It doesn't matter if we call it forty billions or eighty billions=
; the
amount, whatever it is, is a huge one. And what does seventy billions of wa=
ter
mean? It means, at five per cent, that three billions and a half must be pa=
id
for things this year, and every year, more than things are really worth. The
people who labor have to pay this. There is theft for you. There is high pr=
ices
for you. Who put in the water? Who gets the theft of the water? Have I put =
it
in your hand?
{Starkweather}
Are there no wages for stewardship?
{Knox}
Call it any name you please.
{Starkweather}
Do I not make two dollars where one was before=
? Do
I not make for more happiness than was before I came?
{Knox}
Is that any more than the duty any man owes to=
his
fellowman?
{Starkweather}
Oh, you unpractical dreamer. (Returns to his
note-book.)
{Rutland}
(Throwing himself into the breach.) Where do I
steal, Mr. Knox?--I who get a mere salary for preaching the Lord's Word.
{Knox}
Your salary comes out of that water I mentione=
d.
Do you want to know who pays your salary? Not your parishioners. But the li=
ttle
children toiling in the mills, and all the rest--all the slaves on the whee=
l of
labor pay you your salary.
{Rutland} I earn it.
{Knox}
They pay it.
{Mrs. Dowsett}
Why, I declare, Mr. Knox, you are worse than M=
r.
Sakari. You are an anarchist.
(She simulates shivering with fear.)
{Chalmers}
(To Knox.) I suppose that's part of your speech
to-morrow.
{Dolores Ortega}
(Clapping her hands.) A rehearsal! He's trying=
it
out on us!
{Sakari}
How would you remedy this--er--this theft?
(Starkweather again closes note-book on finger=
and
listens as Knox begins to speak.)
{Knox}
Very simply. By changing the governmental
machinery by which this household of ninety millions of people conducts its
affairs.
{Sakari}
I thought--I was taught so at Yale--that your
governmental machinery was excellent, most excellent.
{Knox}
It is antiquated. It is ready for the scrap-he=
ap.
Instead of being our servant, it has mastered us. We are its slaves. All th=
e political
brood of grafters and hypocrites have run away with it, and with us as well=
. In
short, from the municipalities up, we are dominated by the grafters. It is a
reign of theft.
{Hubbard}
But any government is representative of its
people. No people is worthy of a better government than it possesses. Were =
it worthier,
it would possess a better government.
(Starkweather nods his head approvingly.)
{Knox}
That is a lie. And I say to you now that the
average morality and desire for right conduct of the people of the United
States is far higher than that of the government which misrepresents it. The
people are essentially worthy of a better government than that which is at
present in the hands of the politicians, for the benefit of the politicians=
and
of the interests the politicians represent. I wonder, Mr. Sakari, if you ha=
ve
ever heard the story of the four aces.
{Sakari}
I cannot say that I have.
{Knox}
Do you understand the game of poker?
{Sakari}
(Considering.) Yes, a marvelous game. I have
learned it--at Yale. It was very expensive.
{Knox}
Well, that story reminds me of our grafting
politicians. They have no moral compunctions. They look upon theft as right=
--eminently
right. They see nothing wrong in the arrangement that the man who deals the
cards should give himself the best in the deck. Never mind what he deals
himself, they'll have the deal next and make up for it.
=
{Dolores
Ortega}
But the story, Mr. Knox. I, too, understand po=
ker.
{Knox}
It occurred out in Nevada, in a mining camp. A
tenderfoot was watching a game of poker, He stood behind the dealer, and he=
saw
the dealer deal himself four aces from the bottom of the deck.
(From now on, he tells the story in the slow,
slightly drawling Western fashion.) The tenderfoot went around to the playe=
r on
the opposite side of the table.
"Say," he says, "I just seen the
dealer give himself four aces off the bottom."
The player looked at him a moment, and said,
"What of it?"
"Oh, nothing," said the tenderfoot,
"only I thought you might want to know. I tell you I seen the dealer g=
ive
himself four aces off the bottom."
"Look here, Mister," said the player,
"you'd better get out of this. You don't understand the game. It's HIS
deal, ain't it?"
{Margaret}
(Arising while they are laughing.) We've talked
politics long enough. Dolores, I want you to tell me about your new car.
{Knox}
(As if suddenly recollecting himself.) And I m=
ust
be going.
(In a low voice to Margaret.) Do I have to sha=
ke
hands with all these people?
{Margaret}
(Shaking her head, speaking low.) Dear delight=
ful
Ali Baba.
{Knox}
(Glumly.) I suppose I've made a fool of myself=
.
{Margaret}
(Earnestly.) On the contrary, you were delight=
ful.
I am proud of you.
(As Knox shakes hands with Margaret, Sakari ar=
ises
and comes forward).
{Sakari}
I, too, must go. I have had a charming half ho=
ur,
Mrs. Chalmers. But I shall not attempt to thank you.
(He shakes hands with Margaret.)
(Knox and Sakari proceed to make exit to rear.=
)
(Just as they go out, Servant enters, carrying
card-tray, and advances toward Starkweather.)
(Margaret joins Dolores Ortega and Chalmers, s=
eats
herself with them, and proceeds to talk motor-cars.)
(Servant has reached Starkweather, who has tak=
en a
telegram from tray, opened it, and is reading it.)
{Starkweather}
Damnation!
{Servant}
I beg your pardon, sir.
{Starkweather}
Send Senator Chalmers to me, and Mr. Hubbard.<= o:p>
{Servant}
Yes, sir.
(Servant crosses to Chalmers and Hubbard, both=
of
whom immediately arise and cross to Starkweather.)
(While this is being done, Margaret reassembles
the three broken groups into one, seating herself so that she can watch Sta=
rkweather
and his group across the stage.)
(Servant lingers to receive a command from
Margaret.)
(Chalmers and Hubbard wait a moment, standing,
while Starkweather rereads telegram.)
{Starkweather}
(Standing up.) Dobleman has just forwarded this
telegram. It's from New York--from Martinaw. There's been rottenness. My pa=
pers
and letter-files have been ransacked. It's the confidential stenographer who
has been tampered with--you remember that middle-aged, youngish-oldish woma=
n,
Tom? That's the one.--Where's that servant?
(Servant is just making exit.) Here! Come here=
!
(Servant comes over to Starkweather.) Go to the
telephone and call up Dobleman. Tell him to come here.
{Servant}
(Perplexed.) I beg pardon, sir.
{Starkweather}
(Irritably.) My secretary. At my house. Doblem=
an.
Tell him to come at once.
(Servant makes exit.)
{Chalmers}
But who can be the principal behind this theft=
?
(Starkweather shrugs his shoulders.)
{Hubbard}
A blackmailing device most probably. They will
attempt to bleed you--
{Chalmers}
Unless--
{Starkweather}
(Impatiently.) Yes?
{Chalmers}
Unless they are to be used to-morrow in that
speech of Knox.
(Comprehension dawns on the faces of the other=
two
men.)
{Mrs. Starkweather}
(Who has arisen.) Anthony, we must go now. Are=
you
ready? Connie has to dress.
{Starkweather}
I am not going now. You and Connie take the ca=
r.
{Mrs. Starkweather}
You mustn't forget you are going to that dinne=
r.
{Starkweather}
(Wearily.) Do I ever forget?
(Servant enters and proceeds toward Starkweath=
er,
where he stands waiting while Mrs. Starkweather finishes the next speech. S=
tarkweather
listens to her with a patient, stony face.)
{Mrs. Starkweather}
Oh, these everlasting politics! That is what it
has been all afternoon--high prices, graft, and theft; theft, graft, and hi=
gh prices.
It is terrible. When I was a girl we did not talk of such things. Well, come
on, Connie.
{Mrs. Dowsett}
(Rising and glancing at Dowsett.) And we must =
be
going, too.
(During the following scene, which takes place around Starkweather, Margaret is saying good-bye to her departing guests.)<= o:p>
(Mrs. Starkweather and Connie make exit.)
(Dowsett and Mrs. Dowsett make exit.)
(The instant Mrs. Dowsett's remark puts a comp=
lete
end to Mrs. Starkweather's speech, Starkweather, without answer or noticing=
his
wife, turns and interrogates Servant with a glance.)
{Servant}
Mr. Dobleman has already left some time to come
here, sir.
{Starkweather}
Show him in as soon as he comes.
{Servant}
Yes, sir.
(Servant makes exit.)
(Margaret, Dolores Ortega, and Rutland are lef=
t in
a group together, this time around tea-table, where Margaret serves Rutland
another cup of tea. From time to time Margaret glances curiously at the ser=
ious
group of men across the stage.)
(Starkweather is thinking hard with knitted br=
ows.
Hubbard is likewise pondering.)
{Chalmers}
If I were certain Knox had those papers I would
take him by the throat and shake them out of him.
{Starkweather}
No foolish talk like that, Tom. This is a seri=
ous
matter.
{Hubbard}
But Knox has no money. A Starkweather stenogra=
pher
comes high.
{Starkweather}
There is more than Knox behind this. (Enter
Dobleman, walking quickly and in a state of controlled excitement.)
{Dobleman}
(To Starkweather.) You received that telegram,
sir?
(Starkweather nods.) I got the New York
office--Martinaw--right along afterward, by long distance. I thought best to
follow and tell you.
{Starkweather}
What did Martinaw say?
{Dobleman}
The files seem in perfect order.
{Starkweather}
Thank God!
(During the following speech of Dobleman, Rutl=
and
says good-bye to Margaret and Dolores Ortega and makes exit.)
(Margaret and Dolores Ortega rise a minute
afterward and go toward exit, throwing curious glances at the men but not d=
isturbing
them.)
(Dolores Ortega makes exit.)
(Margaret pauses in doorway a moment, giving a
final anxious glance at the men, and makes exit.)
{Dobleman}
But they are not. The stenographer, Miss Stand=
ish,
has confessed. For a long time she has followed the practice of taking two =
or three
letters and documents at a time away from the office. Many have been
photographed and returned. But the more important ones were retained and cl=
ever
copies returned. Martinaw says that Miss Standish herself does not know and
cannot tell which of the ones she returned are genuine and which are copies=
.
{Hubbard}
Knox never did this.
{Starkweather}
Did Martinaw say whom Miss Standish was acting
for?
{Dobleman}
Gherst.
(The alarm on the three men's faces is patent.=
)
{Starkweather}
Gherst!
(Pauses to think.)
{Hubbard}
Then it is not so grave after all. A yellow
journal sensation is the best Gherst can make of it. And, documents or not,=
the
very medium by which it is made public discredits it.
{Starkweather}
Trust Gherst for more ability than that. He wi=
ll
certainly exploit them in his newspapers, but not until after Knox has used
them in his speech. Oh, the cunning dog! Never could he have chosen a better
mode and moment to strike at me, at the Administration, at everything. That=
is
Gherst all over. Playing to the gallery. Inducing Knox to make this spectac=
ular
exposure on the floor of the House just at the critical time when so many i=
mportant
bills are pending.
(To Dobleman.)
Did Martinaw give you any idea of the nature of
the stolen documents?
{Dobleman}
(Referring to notes he has brought.) Of course=
I
don't know anything about it, but he spoke of the Goodyear letters--
(Starkweather betrays by his face the gravity =
of
the information.)
the Caledonian letters, all the Black Rider
correspondence. He mentioned, too, (Referring to notes.) the Astonbury and
Glutz letters. And there were others, many others, not designated.
{Starkweather}
This is terrible!
(Recollecting himself.)
Thank you, Dobleman. Will you please return to=
the
house at once. Get New York again, and fullest details. I'll follow you
shortly. Have you a machine?
{Dobleman}
A taxi, sir.
{Starkweather}
All right, and be careful.
(Dobleman makes exit)
{Chalmers}
I don't know the import of all these letters, =
but
I can guess, and it does seem serious.
{Starkweather}
(Furiously.) Serious! Let me tell you that the=
re
has been no exposure like this in the history of the country. It means hund=
reds
of millions of dollars. It means more--the loss of power. And still more, it
means the mob, the great mass of the child-minded people rising up and
destroying all that I have labored to do for them. Oh, the fools! The fools=
!
{Hubbard}
(Shaking his head ominously.) There is no tell=
ing
what may happen if Knox makes that speech and delivers the proofs.
{Chalmers}
It is unfortunate. The people are restless and
excited as it is. They are being constantly prodded on by the mouthings of =
the
radical press, of the muck-raking magazines and of the demagogues. The peop=
le
are like powder awaiting the spark.
{Starkweather}
This man Knox is no fool, if he is a dreamer. =
He
is a shrewd knave. He is a fighter. He comes from the West--the old pioneer=
stock.
His father drove an ox-team across the Plains to Oregon. He knows how to pl=
ay
his cards, and never could circumstances have placed more advantageous card=
s in
his hands.
{Chalmers}
And nothing like this has ever touched you bef=
ore.
{Starkweather}
I have always stood above the muck and ruck--c=
lear
and clean and unassailable. But this--this is too much! It is the spark. Th=
ere is
no forecasting what it may develop into.
{Chalmers}
A political turnover.
{Starkweather}
(Nodding savagely.) A new party, a party of
demagogues, in power. Government ownership of the railways and telegraphs. A
graduated income tax that will mean no less than the confiscation of private
capital.
{Chalmers}
And all that mass of radical legislation--the
Child Labor Bill, the new Employers' Liability Act, the government control =
of
the Alaskan coal fields, that interference with Mexico. And that big power
corporation you have worked so hard to form.
{Starkweather}
It must not be. It is an unthinkable calamity.=
It
means that the very process of capitalistic development is hindered, stoppe=
d. It
means a setback of ten years in the process. It means work, endless work, to
overcome the setback. It means not alone the passage of all this radical
legislation with the consequent disadvantages, but it means the fingers of =
the
mob clutching at our grip of control. It means anarchy. It means ruin and m=
isery
for all the blind fools and led-cattle of the mass who will strike at the v=
ery
sources of their own existence and comfort.
(Tommy enters from left, evidently playing a g=
ame,
in the course of which he is running away. By his actions he shows that he =
is pursued.
He intends to cross stage, but is stopped by sight of the men. Unobserved by
them, he retraces his steps and crawls under the tea-table.)
{Chalmers}
Without doubt, Knox is in possession of the
letters right now.
{Starkweather}
There is but one thing to do, and that is--get
them back.
(He looks questioningly at the two men.)
(Margaret enters from left, in flushed and hap=
py
pursuit of Tommy--for it is a game she is playing with him. She startles at=
sight
of the three men, whom she first sees as she gains the side of the tea-tabl=
e,
where she pauses abruptly, resting one hand on the table.)
{Hubbard}
I'll undertake it.
{Starkweather}
There is little time to waste. In twenty hours
from now he will be on the floor making his speech. Try mild measures first.
Offer him inducements--any inducement. I empower you to act for me. You will
find he has a price.
{Hubbard}
And if not?
{Starkweather}
Then you must get them at any cost.
{Hubbard}
(Tentatively.) You mean--?
{Starkweather}
I mean just that. But no matter what happens, I
must never be brought in. Do you understand?
{Hubbard}
Thoroughly.
{Margaret}
(Acting her part, and speaking with assumed
gayety.) What are you three conspiring about? (All three men are startled.)=
{Chalmers}
We are arranging to boost prices a little high=
er.
{Hubbard}
And so be able to accumulate more motorcars.
{Starkweather}
(Taking no notice of Margaret and starting tow=
ard
exit to rear.) I must be going. Hubbard, you have your work cut out for you=
. Tom,
I want you to come with me.
{Chalmers}
(As the three men move toward exit.) Home?
{Starkweather}
Yes, we have much to do.
{Chalmers}
Then I'll dress first and follow you.
(Turning to Margaret.) Pick me up on the way to
that dinner.
(Margaret nods. Starkweather makes exit without
speaking. Hub-bard says good-bye to Margaret and makes exit, followed by Ch=
almers.)
(Margaret remains standing, one hand resting on
table, the other hand to her breast. She is thinking, establishing in her m=
ind the
connection between Knox and what she has overheard, and in process of reach=
ing
the conclusion that Knox is in danger.)
(Tommy, having vainly waited to be discovered,
crawls out dispiritedly, and takes Margaret by the hand. She scarcely notic=
es
him.)
{Tommy} (Dolefully.) Don't you want to play any
more? (Margaret does not reply). I was a good Indian.
{Margaret}
(Suddenly becoming aware of herself and breaki=
ng
down. She stoops and clasps Tommy in her arms, crying out, in anxiety and f=
ear,
and from love of her boy.) Oh, Tommy! Tommy!
Curtain
Entrance from hallway at side to right. At rig=
ht
rear is locked door leading to a room which dees not belong to Knox's suite=
. At
rear center is fireplace. At left rear door leading to Knox's bedroom. At l=
eft
are windows facing on street. Near these windows is a large library table
littered with books, magazines, government reports, etc. To the right of
center, midway forward, is a Hat-top desk. On it is a desk telephone. Behind
it, so that one sitting in it faces audience, is revolving desk-chair. Also=
, on
desk, are letters in their envelopes, etc. Against clear wall-spaces are
bookcases and filing cabinets. Of special note is bookcase, containing large
books, and not more than five feet high, which is against wall between
fireplace and door to bedroom.
Curtain discloses empty stage.
(After a slight interval, door at right rear is
shaken and agitated. After slight further interval, door is opened inward u=
pon
stage. A Man's head appears, cautiously looking around).
(Man enters, turns up lights, is followed by
second Man. Both are clad decently, in knock-about business suits and starc=
hed collars,
cuffs, etc. They are trim, deft, determined men).
(Following upon them, enters Hubbard. He looks
about room, crosses to desk, picks up a letter, and reads address).
{Hubbard}
This is Knox's room all right
{First Man}
Trust us for that.
{Second Man}
We were lucky the guy with the whiskers moved =
out
of that other room only this afternoon.
{First Man}
His key hadn't come down yet when I engaged it=
.
{Hubbard}
Well, get to work. That must be his bedroom.
(He goes to door of bedroom, opens, and peers =
in,
turns on electric lights of bedroom, turns them out, then turns back to men=
.)
You know what it is--a bunch of documents and letters. If we find it there =
is a
clean five hundred each for you, in addition to your regular pay.
(While the conversation goes on, all three eng=
age
in a careful search of desk, drawers, filing cabinets, bookcases, etc.)
{Second Man}
Old Starkweather must want them bad.
{Hubbard}
Sh-h. Don't even breathe his name.
{Second Man}
His nibs is damned exclusive, ain't he?
{First Man}
I've never got a direct instruction from him, =
and
I've worked for him longer than you.
{Second Man}
Yes, and you worked for him for over two years
before you knew who was hiring you.
{Hubbard}
(To First Man.) You'd better go out in the hall
and keep a watch for Knox. He may come in any time.
(First Man produces skeleton keys and goes to =
door
at right. The first key opens it. Leaving door slightly ajar, he makes exit=
.)
(Desk telephone rings and startles Hubbard.)
{Second Man}
(Grinning at Hubbard's alarm.)
It's only the phone.
{Hubbard}
(Proceeding with search.) I suppose you've done
lots of work for Stark--
{Second Man}
(Mimicking him.) Sh-h. Don't breathe his name.=
(Telephone rings again and again, insistently,
urgently.)
{Hubbard}
(Disguising his voice.) Hello--Yes.
(Shows surprise, seems to recognize the voice,=
and
smiles knowingly.)
No, this is not Knox. Some mistake. Wrong numb=
er--
(Hanging up receiver and speaking to Second Ma=
n in
natural voice.) She did hang up quick.
{Second Man}
You seemed to recognize her.
{Hubbard}
No, I only thought I did.
(A pause, while they search.)
{Second Man}
I've never spoken a word to his nibs in my lif=
e.
And I've drawn his pay for years too.
{Hubbard}
What of it?
{Second Man}
(Complainingly.) He don't know I exist.
{Hubbard}
(Pulling open a desk drawer and examining
contents.)
The pay's all right, isn't it?
{Second Man}
It sure is, but I guess I earn every cent of i=
t.
(First Man enters through door at right He moves hurriedly but cautiously. =
Shuts
door behind him, but neglects to re-lock it.)
{First Man}
Somebody just left the elevator and is coming =
down
the hall.
(Hubbard, First Man, and Second Man, all start=
for
door at right rear.)
(First Man pauses and looks around to see if r=
oom
is in order. Sees desk-drawer which Hubbard has neglected to close, goes ba=
ck and
closes it.)
(Hubbard and Second Man make exit.)
(First Man turns lights low and makes exit.)
(Sound of locking door is heard.)
(A pause.)
(A knocking at door to right. A pause. Then do=
or
opens and Gilford enters. He turns up lights, strolls about room, looks at =
watch,
and sits down in chair near right of fireplace.) (Sound of key in lock of d=
oor
to right.) (Door opens, and Knox enters, key in hand. Sees Gifford.)
{Knox}
(Advancing to meet him at fireplace and shaking
hands.) How did you get in?
{Gifford}
I let myself in. The door was unlocked.
{Knox}
I must have forgotten it.
{Gifford}
(Drawing bundle of documents from inside breast
pocket and handing them to Knox.) Well, there they are.
{Knox}
(Fingering them curiously.) You are sure they =
are
originals? (Gifford nods.)
I can't take any chances, you know. If Gherst
changed his mind after I gave my speech and refused to show the originals--=
such
things have happened.
{Gifford}
That's what I told him. He was firm on giving
duplicates, and for awhile it looked as if my trip to New York was wasted. =
But
I stuck to my guns. It was originals or nothing with you, I said, and he
finally gave in.
{Knox}
(Holding up documents.) I can't tell you what =
they
mean to me, nor how grateful--
{Gifford}
(Interrupting.) That's all right. Don't mention
it. Gherst is wild for the chance. It will do organized labor a heap of goo=
d. And
you are able to say your own say at the same time. How's that compensation =
act
coming on?
{Knox}
(Wearily.) The same old story. It will never c=
ome
before the House. It is dying in committee. What can you expect of the Comm=
ittee
of Judiciary?--composed as it is of ex-railroad judges and ex-railroad lawy=
ers.
{Gifford}
The railroad brotherhoods are keen on getting =
that
bill through.
{Knox}
Well, they won't, and they never will until th=
ey
learn to vote right. When will your labor leaders quit the strike and boyco=
tt and
lead your men to political action?
{Gifford}
(Holding out hand.) Well, so long. I've got to
trot, and I haven't time to tell you why I think political action would des=
troy
the trade union movement.
(Knox tosses documents on top of low bookcase
between fireplace and bedroom door, and starts to shake hands.) You're damn=
careless
with those papers. You wouldn't be if you knew how much Gherst paid for the=
m.
{Gifford}
You don't appreciate that other crowd. It stop=
s at
nothing.
{Knox}
I won't take my eyes off of them. And I'll take
them to bed with me to-night for safety. Besides, there is no danger. Nobody
but you knows I have them.
{Gifford}
(Proceeding toward door to right.) I'd hate to=
be
in Starkweather's office when he discovers what's happened. There'll be some
bad half hours for somebody. (Pausing at door.) Give them hell to-morrow, g=
ood
and plenty. I'm going to be in a gallery. So long. (Makes exit.)
(Knox crosses to windows, which he opens, retu=
rns
to desk, seats himself in revolving chair, and begins opening his correspon=
dence.
) (A knock at door to right.)
{Knox}
Come in.
(Hubbard enters, advances to desk, but does not
shake hands. They greet each other, and Hubbard sits down in chair to left =
of desk.)
(Knox, still holding an open letter, re-volves chair so as to face his visi=
tor.
He waits for Hubbabd to speak.)
{Hubbard}
There is no use beating about the bush with a =
man
like you. I know that. You are direct, and so am I. You know my position we=
ll enough
to be assured that I am empowered to treat with you.
{Knox}
Oh, yes; I know.
{Hubbard}
What we want is to have you friendly.
{Knox}
That is easy enough. When the Interests become
upright and honest--
{Hubbard}
Save that for your speech. We are talking
privately. We can make it well worth your while--
{Knox} (Angrily.) If you think you can bribe m=
e--
{Hubbard} (Suavely.) Not at all. Not the sligh=
test
suspicion of it. The point is this. You are a congressman. A congressman's =
career
depends on his membership in good committees. At the present you are buried=
in
the dead Committee on Coinage, Weights, and Measures. If you say the word y=
ou
can be appointed to the livest committee--
{Knox}
(Interrupting.) You have these appointments to
give?
{Hubbard}
Surely. Else why should I be here? It can be
managed.
{Knox}
(Meditatively.) I thought our government was
rotten enough, but I never dreamed that House appointments were hawked arou=
nd
by the Interests in this fashion.
{Hubbard}
You have not given your answer.
{Knox}
You should have known my answer in advance.
{Hubbard}
There is an alternative. You are interested in
social problems. You are a student of sociology. Those whom I represent are=
genuinely
interested in you. We are prepared, so that you may pursue your researches =
more
deeply--we are prepared to send you to Europe. There, in that vast sociolog=
ical
laboratory, far from the jangling strife of politics, you will have every
opportunity to study. We are prepared to send you for a period of ten years=
. You
will receive ten thousand dollars a year, and, in addition, the day your
steamer leaves New York, you will receive a lump sum of one hundred thousand
dollars.
{Knox}
And this is the way men are bought
{Hubbard}
It is purely an educational matter.
{Knox}
Now it is you who are beating about the bush.<= o:p>
{Hubbard}
(Decisively.) Very well then. What price do you
set on yourself?
{Knox}
You want me to quit--to leave politics,
everything? You want to buy my soul?
{Hubbard}
More than that. We want to buy those documents=
and
letters.
{Knox}
(Showing a slight start.) What documents and
letters?
{Hubbard}
You are beating around the bush in turn. There=
is
no need for an honest man to lie even--
{Knox}
(Interrupting.) To you.
{Hubbard}
(Smiling.) Even to me. I watched you closely w=
hen
I mentioned the letters. You gave yourself away. You knew I meant the lette=
rs stolen
by Gherst from Starkweather's private files--the letters you intended using
to-morrow.
{Knox}
Intend using to-morrow.
{Hubbard}
Precisely. It is the same thing. What is the
price? Set it.
{Knox}
I have nothing to sell. I am not on the market=
.
{Hubbard}
One moment. Don't make up your mind hastily. Y=
ou
don't know with whom you have to deal. Those letters will not appear in you=
r speech
to-morrow. Take that from me. It would be far wiser to sell for a fortune t=
han
to get nothing for them and at the same time not use them.
(A knock at door to right startles Hubbard.)
{Knox}
(Intending to say, "Come in") Come--=
{Hubbard}
(Interrupting.) Hush. Don't. I cannot be seen
here.
{Knox}
(Laughing.) You fear the contamination of my
company. (The knock is repeated.)
{Hubbard}
(In alarm, rising, as Knox purses his lips to =
bid
them enter.) Don't let anybody in. I don't want to be seen here--with you. =
Besides,
my presence will not put you in a good light.
{Knox}
(Also rising, starting toward door.) What I do=
is
always open to the world. I see no one whom I should not permit the world t=
o know
I saw.
(Knox starts toward door to open it.) (Hubbabd,
looking about him in alarm, flees across stage and into bedroom, closing the
door. During all the following scene, Hubbard, from time to time, opens doo=
r,
and peers out at what is going on.)
{Knox}
(Opening door, and recoiling.) Margaret! Mrs.
Chalmers!
(Margaret enters, followed by Tommy and Linda.
Margaret is in evening dress covered by evening cloak.)
{Margaret}
(Shaking hands with Knox.) Forgive me, but I h=
ad
to see you. I could not get you on the telephone. I called and called, and =
the best
I could do was to get the wrong number.
{Knox}
(Recovering from his astonishment.) Yes. I am
glad.
(Seeing Tommy.) Hello, Tommy.
(Knox holds out his hand, and Tommy shakes it
gravely. Linda stays in back-ground. Her face is troubled.)
{Tommy}
How do you do?
{Margaret}
There was no other way, and it was so necessary
for me to warn you. I brought Tommy and Linda along to chaperon me.
(She looks curiously around room, specially
indicating filing cabinets and the stacks of government reports on table.) =
Your
laboratory.
{Knox}
Ah, if I were only as great a sociological wiz=
ard
as Edison is a wizard in physical sciences.
{Margaret}
But you are. You labor more mightily than you
admit--or dare to think. Oh, I know you--better than you do yourself.
{Tommy}
Do you read all those books?
{Knox}
Yes, I am still going to school and studying h=
ard.
What are you going to study to be when you grow up?
(Tommy meditates but does not answer.)
President of these great United States?
{Tommy}
(Shaking his head.) Father says the President
doesn't amount to much.
{Knox}
Not a Lincoln?
(Tommy is in doubt.)
{Margaret}
But don't you remember what a great good man
Lincoln was? You remember I told you?
{Tommy}
(Shaking his head slowly.) But I don't want to=
be
killed.--I'll tell you what!
{Knox}
What?
{Tommy}
I want to be a senator like father. He makes t=
hem
dance.
(Margaret is shocked, and Knox's eyes twinkle.=
)
{Knox}
Makes whom dance?
{Tommy} (Puzzled.) I don't know.
(With added confidence.) But he makes them dan=
ce
just the same.
(Margaret makes a signal to Linda to take Tommy
across the room.)
{Linda}
(Starting to cross stage to left.) Come, Tommy.
Let us look out of the window.
{Tommy}
I'd rather talk with Mr. Knox.
{Margaret}
Please do, Tommy. Mamma wants to talk to Mr. K=
nox.
(Tommy yields, and crosses to right, where he
joins Linda in looking out of the window.)
{Margaret}
You might ask me to take a seat
{Knox}
Oh! I beg pardon.
(He draws up a comfortable chair for her, and
seats himself in desk-chair, facing her.)
{Margaret}
I have only a few minutes. Tom is at father's,=
and
I am to pick him up there and go on to that dinner, after I've taken Tommy =
home.
{Knox}
But your maid?
{Margaret}
Linda? Wild horses could not drag from her
anything that she thought would harm me. So intense is her fidelity that it
almost shames me. I do not deserve it. But this is not what I came to you
about.
(She speaks the following hurriedly.) After you
left this afternoon, something happened. Father received a telegram. It see=
med
most important. His secretary followed upon the heels of the telegram. Fath=
er
called Tom and Mr. Hubbard to him and they held a conference. I think they =
have
discovered the loss of the documents, and that they believe you have them. I
did not hear them mention your name, yet I am absolutely certain that they =
were
talking about you. Also, I could tell from father's face that something was
terribly wrong. Oh, be careful! Do be careful!
{Knox}
There is no danger, I assure you.
{Margaret}
But you do not know them. I tell you you do not
know them. They will stop at nothing--at nothing. Father believes he is rig=
ht
in all that he does.
{Knox}
I know. That is what makes him so formidable. =
He
has an ethical sanction.
{Margaret}
(Nodding.) It is his religion.
{Knox}
And, like any religion with a narrow-minded ma=
n,
it runs to mania.
{Margaret}
He believes that civilization rests on him, and
that it is his sacred duty to preserve civilization.
{Knox}
I know. I know.
{Margaret}
But you? But you? You are in danger.
{Knox}
No; I shall remain in to-night. To-morrow, in =
the
broad light of midday, I shall proceed to the House and give my speech.
{Margaret}
(Wildly.) Oh, if anything should happen to you=
!
{Knox}
(Looking at her searchingly.) You do care?
(Margaret nods, with eyes suddenly downcast.) =
For
Howard Knox, the reformer? Or for me, the man?
{Margaret}
(Impulsively.) Oh, why must a woman forever re=
main
quiet? Why should I not tell you what you already know?--what you must alre=
ady
know? I do care for you--for man and reformer, both--for--
(She is aflame, but abruptly ceases and glances
across at Tommy by the window, warned instinctively that she must not give =
way
to love in her child's presence.)
Linda! Will you take Tommy down to the machine=
--
{Knox}
(Alarmed, interrupting, in low voice.) What are
you doing?
{Margaret}
(Hushing Knox with a gesture.) I'll follow you
right down.
(Linda and Tommy proceed across stage toward r=
ight
exit.)
{Tommy}
(Pausing before Knox and gravely extending his
hand.) Good evening, Mr. Knox.
{Knox}
(Awkwardly.) Good evening, Tommy. You take my =
word
for it, and look up this Lincoln question.
{Tommy}
I shall. I'll ask father about it.
{Margaret}
(Significantly.) You attend to that, Linda. No=
body
must know--this.
(Linda nods.)
(Linda and Tommy make exit to right.)
(Margaret, seated, slips back her cloak, revea=
ling
herself in evening gown, and looks at Knox sumptuously, lovingly, and willi=
ngly.)
{Knox}
(Inflamed by the sight of her.) Don't! Don't! I
can't stand it. Such sight of you fills me with madness.
(Margaret laughs low and triumphantly.) I don't
want to think of you as a woman. I must not. Allow me.
(He rises and attempts to draw cloak about her
shoulders, but she resists him. Yet does he succeed in partly cloaking her.=
)
{Margaret}
I want you to see me as a woman. I want you to
think of me as a woman. I want you mad for me.
(She holds out her arms, the cloak slipping fr=
om
them.)
I want--don't you see what I want?----
(Knox sinks back in chair, attempting to shield
his eyes with his hand.)
(Slipping cloak fully back from her again.)
Look at me.
{Knox}
(Looking, coming to his feet, and approaching =
her,
with extended arms, murmuring softly.) Margaret. Margaret.
(Margaret rises to meet him, and they are clas=
ped
in each other's arms.)
(Hubbard, peering forth through door, looks at
them with an expression of cynical amusement. His gaze wan-ders, and he see=
s the
documents, within arm's reach, on top of bookcase. He picks up documents, h=
olds
them to the light of stage to glance at them, and, with triumphant expressi=
on
on face, disappears and closes door.)
{Knox}
(Holding Margaret from him and looking at her.=
) I
love you. I do love you. But I had resolved never to speak it, never to let=
you
know.
{Margaret}
Silly man. I have known long that you loved me.
You have told me so often and in so many ways. You could not look at me wit=
hout
telling me.
{Knox}
You saw?
{Margaret}
How could I help seeing? I was a woman. Only, =
with
your voice you never spoke a word. Sit down, there, where I may look at you,
and let me tell you. I shall do the speaking now.
(She urges him back into the desk-chair, and
reseats herself.) (She makes as if to pull the cloak around 'her.) Shall I?=
{Knox}
(Vehemently.) No, no! As you are. Let me feast=
my
eyes upon you who are mine. I must be dreaming.
{Margaret}
(With a low, satisfied laugh of triumph.) Oh, =
you
men! As of old, and as forever, you must be wooed through your senses. Did I
display the wisdom of an Hypatia, the science of a Madam Curie, yet would y=
ou
keep your iron control, throttling the voice of your heart with silence. But
let me for a moment be Lilith, for a moment lay aside this garment construc=
ted
for the purpose of keeping out the chill of night, and on the instant you a=
re
fire and aflame, all voluble with love's desire.
{Knox}
(Protestingly.) Margaret! It is not fair!
{Margaret}
I love you--and--you?
{Knox}
(Fervently and reverently.) I love you.
{Margaret}
Then listen. I have told you of my girlhood an=
d my
dreams. I wanted to do what you are so nobly doing. And I did nothing. I co=
uld
do nothing. I was not permitted. Always was I compelled to hold myself in
check. It was to do what you are doing, that I married. And that, too, fail=
ed
me. My husband became a henchman of the Interests, my own father's tool for=
the
perpetuation of the evils against which I desired to fight.
(She pauses.) It has been a long fight, and I =
have
been very tired, for always did I confront failure. My husband--I did not l=
ove
him. I never loved him. I sold myself for the Cause, and the cause profited
nothing. (Pause.) Often, I have lost faith--faith in everything, in God and
man, in the hope of any righteousness ever prevailing. But again and again,=
by
what you are doing, have you awakened me. I came to-night with no thought of
self. I came to warn you, to help the good work on. I remained--thank God!-=
-I remained
to love you--and to be loved by you. I suddenly found myself, looking at yo=
u,
very weary. I wanted you--you, more than anything in the world.
(She holds out her arms.) Come to me. I want y=
ou--now.
(Knox, in an ecstacy, comes to her. He seats
himself on the broad arm of the chair and is drawn into her arms.)
{Knox}
But I have been tired at times. I was very tir=
ed
to-night--and you came. And now I am glad, only glad.
{Margaret}
I have been wanton to-night. I confess it. I am
proud of it. But it was not--professional. It was the first time in my life=
. Almost
do I regret--almost do I regret that I did not do it sooner--it has been
crowned with such success. You have held me in your arms--your arms. Oh, you
will never know what that first embrace meant to me. I am not a clod. I am =
not
iron nor stone. I am a woman--a warm, breathing woman--.
(She rises, and draws him to his feet.)
Kiss me, my dear lord and lover. Kiss me. (They
embrace.)
{Knox}
(Passionately, looking about him wildly as if =
in
search of something.) What shall we do?
(Suddenly releasing her and sinking back in his
own chair almost in collapse.) No. It cannot be. It is impossible. Oh, why
could we not have met long ago? We would have worked together. What a comra=
deship
it would have been.
{Margaret}
But it is not too late.
{Knox}
I have no right to you.
{Margaret}
(Misunderstanding. ) My husband? He has not be=
en
my husband for years. He has no rights. Who, but you whom I love, has any r=
ights?
{Knox}
No; it is not that.
(Snapping his fingers.) That for him.
(Breaking down.) Oh, if I were only the man, a=
nd
not the reformer! If I had no work to do!
{Margaret}
(Coming to the back of his chair and caressing=
his
hair.) We can work together.
{Knox}
(Shaking his head under her fingers.) Don't!
Don't!
(She persists, and lays her cheek against his.)
You make it so hard. You tempt me so.
(He rises suddenly, takes her two hands in his,
leads her gently to her chair, seats her, and reseats himself in desk-chair=
.) Listen.
It is not your husband. But I have no right to you. Nor have you a right to=
me.
{Margaret}
(Interrupting, jealously.) And who but I has a=
ny
right to you?
{Knox}
(Smiling sadly.) No; it is not that. There is =
no
other woman. You are the one woman for me. But there are many others who ha=
ve greater
rights in me than you. I have been chosen by two hundred thousand citizens =
to
represent them in the Congress of the United States. And there are many mor=
e--
(He breaks off suddenly and looks at her, at h=
er
arms and shoulders.) Yes, please. Cover them up. Help me not to forget.
(Margaret does not obey.) There are many more =
who
have rights in me--the people, all the people, whose cause I have made mine.
The children--there are two million child laborers in these United States. I
cannot betray them. I cannot steal my happiness from them. This afternoon I
talked of theft. But would not this, too, be theft?
{Margaret}
(Sharply.) Howard! Wake up! Has our happiness
turned your head?
{Knox}
(Sadly.) Almost--and for a few wild moments,
quite. There are all the children. Did I ever tell you of the tenement chil=
d,
who when asked how he knew when spring came, answered: When he saw the salo=
ons
put up their swing doors.
{Margaret}
(Irritated.) But what has all that to do with =
one
man and one woman loving?
{Knox}
Suppose we loved--you and I; suppose we loosed=
all
the reins of our love. What would happen? You remember Gorki, the Russian p=
atriot,
when he came to New York, aflame with passion for the Russian revolution. H=
is
purpose in visiting the land of liberty was to raise funds for that revolut=
ion.
And because his marriage to the woman he loved was not of the essentially l=
egal
sort worshiped by the shopkeepers, and because the newspapers made a sensat=
ion
of it, his whole mission was brought to failure. He was laughed and derided=
out
of the esteem of the American people. That is what would happen to me. I sh=
ould
be slandered and laughed at. My power would be gone.
{Margaret}
And even if so--what of it? Be slandered and
laughed at. We will have each other. Other men will rise up to lead the peo=
ple,
and leading the people is a thankless task. Life is so short. We must clutch
for the morsel of happiness that may be ours.
{Knox}
Ah, if you knew, as I look into your eyes, how
easy it would be to throw everything to the winds. But it would be theft.
{Margaret}
(Rebelliously.) Let it be theft. Life is so sh=
ort,
dear. We are the biggest facts in the world--to each other.
{Knox}
It is not myself alone, nor all my people. A
moment ago you said no one but I had any right to you. You were wrong. Your
child--
{Margaret}
(In sudden pain, pleadingly.) Don't!
{Knox}
I must. I must save myself--and you. Tommy has
rights in you. Theft again. What other name for it if you steal your happin=
ess from
him?
{Margaret}
(Bending her head forward on her hand and
weeping.) I have been so lonely--and then you--you came, and the world grew
bright and warm--a few short minutes ago you held me--in your arms--a few s=
hort
minutes ago and it seemed my dream of happiness had come true--and now you =
dash
it from me--
{Knox}
(Struggling to control himself now that she is=
no
longer looking at him.) No; I ask you to dash it from yourself. I am not to=
o strong.
You must help me. You must call your child to your aid in helping me. I cou=
ld
go mad for you now--
(Rising impulsively and coming to her with arms
outstretched to clasp her.) Right now--
{Margaret}
(Abruptly raising her head, and with one
outstretched arm preventing the embrace.) Wait.
(She bows her head on her hand for a moment, to
think and to win control of herself.)
(Lifting her head and looking at him.) Sit
down--please.
(Knox reseats himself.)
(A pause, during which she looks at him and lo=
ves him.)
Dear, I do so love you--
(Knox loses control and starts to rise.) No! S=
it
there. I was weak. Yet I am not sorry. You are right. We must forego each o=
ther.
We cannot be thieves, even for love's sake. Yet I am glad that this has
happened--that I have lain in your arms and had your lips on mine. The memo=
ry
of it will be sweet always.
(She draws her cloak around her, and rises.)
(Knox rises.) You are right. The future belong=
s to
the children. There lies duty--yours, and mine in my small way. I am going =
now.
We must not see each other ever again. We must work--and forget. But rememb=
er,
my heart goes with you into the fight. My prayers will accompany every stro=
ke.
(She hesitates, pauses, draws her cloak thorou=
ghly
around her in evidence of departure.) Dear--will you kiss me--once--one las=
t time?
(There is no passion in this kiss, which is the kiss of renunciation. Marga=
ret
herself terminates the embrace.)
(Knox accompanies her silently to the door and
places hand on knob.) I wish I had something of you to have with me always-=
-a photograph,
that little one, you remember, which I liked so. (She nods.) Don't run the =
risk
of sending it by messenger. Just mail it ordinarily.
{Margaret}
I shall mail it to-morrow. I'll drop it in the=
box
myself.
{Knox}
(Kissing her hand.) Good-bye.
{Margaret}
(lingeringly.) But oh, my dear, I am glad and
proud for what has happened. I would not erase a single line of it.
(She indicates for Knox to open door, which he
does, but which he immediately closes as she continues speaking.) There mus=
t be
immortality. There must be a future life where you and I shall meet again.
Good-bye.
(They press each other's hands.)
(Exit Margaret.)
(Knox stands a moment, staring at closed door,
turns and looks about him indecisively, sees chair in which Margaret sat, g=
oes over
to it, kneels down, and buries his face.)
(Door to bedroom opens slowly and Hubbard peers
out cautiously. He cannot see Knox.)
{Hubbard}
(Advancing, surprised.) What the deuce? Everyb=
ody
gone?
{Knox}
(Startled to his feet.) Where the devil did you
come from?
{Hubbard}
(Indicating bedroom.) In there. I was in there=
all
the time.
{Knox}
(Endeavoring to pass it off.) Oh, I had forgot=
ten
about you. Well, my callers are gone.
{Hubbard}
(Walking over close to him and laughing at him
with affected amusement.) Honest men are such dubs when they do go wrong.
{Knox}
The door was closed all the time. You would not
have dared to spy upon me.
{Hubbard}
There was something familiar about the lady's
voice.
{Knox}
You heard!--what did you hear?
{Hubbard}
Oh, nothing, nothing--a murmur of voices--and =
the
woman's--I could swear I have heard her voice before.
(Knox shows his relief.) Well, so long.
(Starts to move toward exit to right.) You won=
't
reconsider your decision?
{Knox}
(Shaking his head.)
{Hubbard}
(Pausing, open door in hand, and laughing
cynically.) And yet it was but a moment ago that it seemed I heard you say
there was no one whom you would not permit the world to know you saw.
(Starting.) What do you mean?
{Hubbard}
Good-bye.
(Hubbard makes exit and closes door.) (Knox
wanders aimlessly to his desk, glances at the letter he was reading of which
had been interrupted by Hubbard's entry of first act, suddenly recollects t=
he
package of documents, and walks to low bookcase and looks on top.)
{Knox}
(Stunned.) The thief!
(He looks about him wildly, then rushes like a
madman in pursuit of Hubbard, making exit to right and leaving the door Hyi=
ng open.)
(Empty stage for a moment.)
Curtain
Scene.
The library, used as a sort of semi-office by Starkweather at such times wh=
en
he is in Washington. Door to right; also, door to right rear. At left rear =
is
an alcove, without hangings, which is dark. To left are windows. To left, n=
ear
windows, a fiat-top desk, with desk-chair and desk-telephone. Also, on desk,
conspicuously, is a heavy dispatch box. At the center rear is a large scree=
n.
Extending across center back of room are heavy, old-fashioned bookcases, wi=
th swinging
glass doors. The bookcases narrow about four feet from the floor, thus form=
ing
a ledge. Between left end of bookcases and alcove at left rear, high up on
wall, hangs a large painting or steel engraving of Abraham Lincoln. In desi=
gn
and furnishings, it is a simple chaste room, coldly rigid and slightly old-=
fashioned.
It is 9:30 in the morning of the day succeeding
previous act.
Curtain discloses Starkweather seated at desk,=
and
Dobleman, to right of desk, standing.
{Starkweather}
All right, though it is an unimportant
publication. I'll subscribe.
{Dobleman}
(Making note on pad.) Very well, sir. Two
thousand.
(He consults his notes.) Then there is
Vanderwater's Magazine. Your subscription is due.
{Starkweather}
How much?
{Dobleman}
You have been paying fifteen thousand.
{Starkweather}
It is too much. What is the regular subscripti=
on?
{Dobleman}
A dollar a year.
{Starkweather}
(Shaking his head emphatically.) It is too muc=
h.
{Dobleman}
Professor Vanderwater also does good work with=
his
lecturing. He is regularly on the Chautauqua Courses, and at that big meeti=
ng of
the National Civic Federation, his speech was exceptionally telling.
{Starkweather}
(Doubtfully, about to give in.) All right--
(He pauses, as if recollecting something.)
(Dobleman has begun to write down the note.) No. I remember there was somet=
hing
in the papers about this Professor Vanderwater--a divorce, wasn't it? He has
impaired his authority and his usefulness to me.
{Dobleman}
It was his wife's fault.
{Starkweather}
It is immaterial. His usefulness is impaired. =
Cut
him down to ten thousand. It will teach him a lesson.
{Dobleman}
Very good, sir.
{Starkweather}
And the customary twenty thousand to Cartwrigh=
ts.
{Dobleman}
(Hesitatingly.) They have asked for more. They
have enlarged the magazine, reorganized the stock, staff, everything.
{Starkweather}
Hubbard's writing for it, isn't he?
{Dobleman}
Yes, sir. And though I don't know, it is whisp=
ered
that he is one of the heavy stockholders.
{Starkweather}
A very capable man. He has served me well. How
much do they want?
{Dobleman}
They say that Nettman series of articles cost =
them
twelve thousand alone, and that they believe, in view of the exceptional se=
rvice
they are prepared to render, and are rendering, fifty thousand--
{Starkweather}
(Shortly.) All right. How much have I given to
University of Hanover this year?
{Dobleman}
Seven--nine millions, including that new libra=
ry.
{Starkweather}
(Sighing.) Education does cost. Anything more =
this
morning?
{Dobleman}
(Consulting notes.) Just one other--Mr. Rutlan=
d.
His church, you know, sir, and that theological college. He told me he had =
been
talking it over with you. He is anxious to know.
{Starkweather}
He's very keen, I must say. Fifty thousand for=
the
church, and a hundred thousand for the college--I ask you, candidly, is he =
worth
it?
{Dobleman}
The church is a very powerful molder of public
opinion, and Mr. Rutland is very impressive. (Running over the notes and
producing a clipping.) This is what he said in his sermon two weeks ago: &q=
uot;God
has given to Mr. Starkweather the talent for making money as truly as God h=
as
given to other men the genius which manifests itself in literature and the =
arts
and sciences."
{Starkweather}
(Pleased.) He says it well.
{Dobleman}
(Producing another clipping.) And this he said about you in last Sunday's sermon: "We are to-day rejoicing in the gre= at light of the consecration of a great wealth to the advancement of the race. This vast wealth has been so consecrated by a man who all through life has walked in accord with the word, The love of Christ constraineth me.'"<= o:p>
{Starkweather}
(Meditatively.) Dobleman, I have meant well. I
mean well. I shall always mean well. I believe I am one of those few men, to
whom God, in his infinite wisdom, has given the stewardship of the people's
wealth. It is a high trust, and despite the abuse and vilification heaped u=
pon
me, I shall remain faithful to it.
(Changing his tone abruptly to businesslike
briskness.) Very well. See that Mr. Rutland gets what he has asked for.
{Dobleman}
Very good, sir. I shall telephone him. I know =
he
is anxious to hear.
(Starting to leave the room.) Shall I make the
checks out in the usual way?
{Starkweather}
Yes: except the Rutland one. I'll sign that
myself. Let the others go through the regular channels. We take the 2:10 tr=
ain for
New York. Are you ready?
{Dobleman}
(Indicating dispatch box.) All, except the
dispatch box.
{Starkweather}
I'll take care of that myself.
(Dobleman starts to make exit to left, and Starkweather, taking notebook from pocket, glances into it, and looks up.)<= o:p>
Dobleman.
{Dobleman} (Pausing.) Yes, sir.
{Starkweather}
Mrs. Chalmers is here, isn't she?
{Dobleman}
Yes, sir. She came a few minutes ago, with her
little boy. They are with Mrs. Starkweather.
{Starkweather}
Please tell Mrs. Chalmers I wish to see her.
{Dobleman}
Yes, sir.
(Dobleman makes exit.) (Maidservant enters from
right rear, with card tray.)
{Starkweather}
(Examining card.) Show him in.
(Maidservant makes exit right rear). (Pause, d=
uring
which Starkweather consults notebook.) (Maidservant re-enters, showing in
Hubbard.)
(Hubbard advances to desk.) (Starkweather is so
glad to see him that he half rises from his chair to shake hands.)
{Starkweather}
(Heartily.) I can only tell you that what you =
did
was wonderful. Your telephone last night was a great relief. Where are they=
?
{Hubbard}
(Drawing package of documents from inside brea=
st
pocket and handing them over.) There they are--the complete set. I was fort=
unate.
{Starkweather}
(Opening package and glancing at a number of t=
he
documents while he talks.) You are modest, Mr. Hubbard.--It required more--=
than
fortune.--It required ability--of no mean order.--The time was short.--You =
had
to think--and act--with too great immediacy to be merely fortunate.
(Hubbard bows, while Starkweather rearranges
package.)
There is no need for me to tell you how I
appreciate your service. I have increased my subscription to Cartwright's t=
o fifty
thousand, and I shall speak to Dobleman, who will remit to you a more
substantial acknowledgment than my mere thanks for the inestimable service =
you
have rendered.
(Hubbard bows.)
You--ah--you have read the documents?
{Hubbard}
I glanced through them. They were indeed serio=
us.
But we have spiked Knox's guns. Without them, that speech of his this after=
noon
becomes a farce--a howling farce. Be sure you take good care of them.
(Indicating documents, which Starkweather still
holds.) Gherst has a long arm.
{Starkweather}
He cannot reach me here. Besides, I go to New = York to-day, and I shall carry them with me. Mr. Hubbard, you will forgive me--<= o:p>
(Starting to pack dispatch box with papers and
letters lying on desk.) I am very busy.
{Hubbard}
(Taking the hint.) Yes, I understand. I shall =
be
going now. I have to be at the Club in five minutes.
{Starkweather}
(In course of packing dispatch box, he sets
certain packets of papers and several medium-sized account books to one sid=
e in
an orderly pile. He talks while he packs, and Hubbard waits.) I should like=
to
talk with you some more--in New York. Next time you are in town be sure to =
see
me. I am thinking of buying the Parthenon Magazine, and of changing its pol=
icy.
I should like to have you negotiate this, and there are other important thi=
ngs
as well. Good day, Mr. Hubbard. I shall see you in New York--soon.
(Hubbard and Starkweather shake hands.)
(Hubbard starts to make exit to right rear.)
(Margaret enters from right rear.)
(Starkweather goes on packing dispatch box thr=
ough
following scene.)
{Hubbard}
Mrs. Chalmers.
(Holding out hand, which Margaret takes very
coldly, scarcely inclining her head, and starting to pass on.) (Speaking
suddenly and savagely.) You needn't be so high and lofty, Mrs. Chalmers.
{Margaret}
(Pausing and looking at him curiously as if to
ascertain whether he has been drinking.) I do not understand.
{Hubbard}
You always treated me this way, but the time f=
or
it is past. I won't stand for your superior goodness any more. You really i=
mpressed
me with it for a long time, and you made me walk small. But I know better n=
ow.
A pretty game you've been playing--you, who are like any other woman. Well,=
you
know where you were last night. So do I.
{Margaret}
You are impudent.
{Hubbard}
(Doggedly.) I said I knew where you were last
night. Mr. Knox also knows where you were. But I'll wager your husband does=
n't.
{Margaret}
You spy!
(Indicating her father.) I suppose you have
told--him.
{Hubbard}
Why should I?
{Margaret}
You are his creature.
{Hubbard}
If it will ease your suspense, let me tell you
that I have not told him. But I do protest to you that you must treat me wi=
th more--more
kindness.
(Margaret makes no sign but passes on utterly
oblivious of him.) (Hubbard stares angrily at her and makes exit)
(Starkweather, who is finishing packing, puts the documents last inside box=
, and
closes and locks it. To one side is the orderly stack of the several account
books and packets of papers.)
{Starkweather}
Good morning, Margaret. I sent for you because=
we
did not finish that talk last night. Sit down.
(She gets a chair for herself and sits down.)<= o:p>
You always were hard to manage, Margaret. You =
have
had too much will for a woman. Yet I did my best for you. Your marriage wit=
h Tom
was especially auspicious--a rising man, of good family and a gentleman,
eminently suitable--
{Margaret}
(Interrupting bitterly.) I don't think you were
considering your daughter at all in the matter. I know your views on woman =
and woman's
place. I have never counted for anything with you. Neither has mother, nor =
Connie,
when business was uppermost, and business always is uppermost with you. I
sometimes wonder if you think a woman has a soul. As for my marriage--you s=
aw
that Tom could be useful to you. He had the various distinctive points you =
have
mentioned. Better than that he was pliable, capable of being molded to perf=
orm
your work, to manipulate machine politics and procure for you the legislati=
on
you desired. You did not consider what kind of a husband he would make for =
your
daughter whom you did not know. But you gave your daughter to him--sold her=
to him--because
you needed him--
(Laughs hysterically.) In your business.
{Starkweather}
(Angrily.) Margaret! You must not speak that w=
ay.
(Relaxing.)
Ah, you do not change. You were always that wa=
y,
always bent on having your will--
{Margaret}
Would to God I had been more successful in hav=
ing
it.
{Starkweather}
(Testily.) This is all beside the question. I =
sent
for you to tell you that this must stop--this association with a man of the=
type
and character of Knox--a dreamer, a charlatan, a scoundrel--
{Margaret}
It is not necessary to abuse him.
{Starkweather}
It must stop--that is all. Do you understand? =
It
must stop.
{Margaret}
(Quietly.) It has stopped. I doubt that I shall
ever see him again. He will never come to my house again, at any rate. Are =
you satisfied?
{Starkweather}
Perfectly. Of course, you know I have never
doubted you--that--that way.
{Margaret}
(Quietly.) How little you know women. In your
comprehension we are automatons, puppets, with no hearts nor heats of desir=
e of
our own, with no springs of conduct save those of the immaculate and
puritanical sort that New England crystallized a century or so ago.
{Starkweather}
(Suspiciously.) You mean that you and this man=
--?
{Margaret}
I mean nothing has passed between us. I mean t=
hat
I am Tom's wife and Tommy's mother. What I did mean, you have no more
understood than you understand me--or any woman.
{Starkweather}
(Relieved.) It is well.
{Margaret}
(Continuing.) And it is so easy. The concept is simple. A woman is human. That is all. Yet I do believe it is news to you.<= o:p>
(Enters Dobleman from right carrying a check in
his hand. Starkweather, about to speak, pauses.) (Dobleman hesitates, and S=
tarkweather
nods for him to advance.)
{Dobleman}
(Greeting Margaret, and addressing Starkweathe=
r.)
This check. You said you would sign it yourself.
{Starkweather}
Yes, that is Rutland's. (Looks for pen.)
(Dobleman offers his fountain pen.) No; my own
pen.
(Unlocks dispatch box, gets pen, and signs che= ck. Leaves dispatch box open.) (Dobleman takes check and makes exit to right.)<= o:p>
{Starkweather}
(Picking up documents from top of pile in open
box.)
This man Knox. I studied him yesterday. A man =
of
great energy and ideals. Unfortunately, he is a sentimentalist. He means
right--I grant him that. But he does not understand practical conditions. H=
e is
more dangerous to the welfare of the United States than ten thousand
anarchists. And he is not practical. (Holding up documents.)
Behold, stolen from my private files by a yell=
ow
journal sneak thief and turned over to him. He thought to buttress his spee=
ch with
them this afternoon. And yet, so hopelessly unpractical is he, that you see
they are already back in the rightful owner's hands.
{Margaret}
Then his speech is ruined?
{Starkweather}
Absolutely. The wheels are all ready to turn. =
The
good people of the United States will dismiss him with roars of laughter--a
good phrase, that: Hubbard's, I believe.
(Dropping documents on the open cover of dispa=
tch
box, picking up the pile of several account books and packets of papers, an=
d rising.)
One moment. I must put these away.
(Starkweather goes to alcove at left rear. He
presses a button and alcove is lighted by electricity, discovering the face=
of
a large safe. During the following scene he does not look around, being
occupied with working the combination, opening the safe, putting away accou=
nt
books and packets of papers, and with examining other packets which are in
safe.)
(Margaret looks at documents lying on open cov=
er
of dispatch box and glancing quickly about room, takes a sudden resolution.=
She
seizes documents, makes as if to run wildly from the room, stops abruptly to
reconsider, and changes her mind. She looks about room for a hiding place, =
and
her eyes rest on portrait of Lincoln. Moving swiftly, picking up a light ch=
air
on the way, she goes to corner of bookcase nearest to portrait, steps on ch=
air,
and from chair to ledge of bookcase where, clinging, she reaches out and up=
and
drops documents behind portrait. Stepping quickly down, with handkerchief s=
he
wipes ledge on which she has stood, also the seat of the chair. She carries
chair back to where she found it, and reseats herself in chair by desk.)
(Starkweather locks safe, emerges from alcove, turns off alcove lights, adv=
ances
to desk chair, and sits down. He is about to close and lock dispatch box wh=
en
he discovers documents are missing. He is very quiet about it, and examines
contents of box care-fully.)
{Starkweather}
(Quietly.) Has anybody been in the room?
{Margaret}
No.
{Starkweather}
(Looking at her searchingly.) A most unprecede=
nted
thing has occurred. When I went to the safe a moment ago, I left these docu=
ments
on the cover of the dispatch box. Nobody has been in the room but you. The
documents are gone. Give them to me.
{Margaret}
I have not been out of the room.
{Starkweather}
I know that. Give them to me.
(A pause.) You have them. Give them to me
{Margaret}
I haven't them.
{Starkweather}
That is a lie. Give them to me.
{Margaret}
(Rising.) I tell you I haven't them--
{Starkweather}
(Also rising.) That is a lie.
{Margaret}
(Turning and starting to cross room.) Very wel=
l,
if you do not believe me--
{Starkweather}
(Interrupting.) Where are you going?
{Margaret}
Home.
{Starkweather}
(Imperatively.) No, you are not. Come back her=
e.
(Margaret comes back and stands by chair.) You
shall not leave this room. Sit down.
{Margaret}
I prefer to stand.
{Starkweather}
Sit down.
(She still stands, and he grips her by arm, fo=
rcing
her down into chair.) Sit down. Before you leave this room you shall return=
those
documents. This is more important than you realize. It transcends all ordin=
ary
things of life as you have known it, and you will compel me to do things far
harsher than you can possibly imagine. I can forget that you are a daughter=
of
mine. I can forget that you are even a woman. If I have to tear them from y=
ou,
I shall get them. Give them to me.
(A pause.) What are you going to do?
(Margaret shrugs her shoulders.) What have you=
to
say?
(Margaret again shrugs her shoulders.) What ha=
ve
you to say?
{Margaret}
Nothing.
{Starkweather}
(Puzzled, changing tactics, sitting down, and
talking calmly.) Let us talk this over quietly. You have no shred of right =
of
any sort to those documents. They are mine. They were stolen by a sneak thi=
ef
from my private files. Only this morning--a few minutes ago--did I get them
back. They are mine, I tell you. They belong to me. Give them back.
{Margaret}
I tell you I haven't them.
{Starkweather}
You have got them about you, somewhere, concea=
led
in your breast there. It will not save you. I tell you I shall have them. I
warn you. I don't want to proceed to extreme measures. Give them to me.
(He starts to press desk-button, pauses, and l=
ooks
at her.) Well?
(Margaret shrugs her shoulders.) (He presses
button twice.) I have sent for Dobleman. You have one chance before he come=
s.
Give them to me.
{Margaret}
Father, will you believe me just this once? Le=
t me
go. I tell you I haven't the documents. I tell you that if you let me leave
this room, I shall not carry them away with me. I tell you this on my honor=
. Do
you believe me? Tell me that you do believe me.
{Starkweather}
I do believe you. You say they are not on you.=
I
believe you. Now tell me where they are--you have them hidden
somewhere--(Glancing about room.)--And you can go at once.
(Dobleman enters from right and advances to de=
sk.
Starkweather and Margaret remains silent.)
{Dobleman}
You rang for me.
{Starkweather}
(With one last questioning glance at Margaret,=
who
remains impassive.) Yes, I did. Have you been in that other room all the ti=
me?
{Dobleman}
Yes, sir.
{Starkweather}
Did anybody pass through and enter this room?<= o:p>
{Dobleman}
No, sir.
{Starkweather}
Very well. We'll see what the maid has to say.=
(He presses button once.) Margaret, I give you=
one
last chance.
{Margaret}
I have told you that if I leave this room, I s=
hall
not take them with me.
(Maid enters from right rear and advances.)
{Starkweather}
Has anybody come into this room from the hall =
in
the last few minutes?
{Maid}
No, sir; not since Mrs. Chalmers came in.
{Starkweather}
How do you know?
{Maid}
I was in the hall, sir, dusting all the time.<= o:p>
{Starkweather}
That will do.
(Maid makes exit to right rear.) Dobleman, a v=
ery
unusual thing has occurred.
Mrs. Chalmers and I have been alone in this ro=
om.
Those letters stolen by Gherst had been returned to me by Hubbard but the m=
oment
before. They were on my desk. I turned my back for a moment to go to the sa=
fe.
When I came back they were gone.
{Dobleman}
(Embarrassed.) Yes, sir.
{Starkweather}
Mrs. Chalmers took them. She has them now.
{Dobleman}
(Attempts to speak, stammers.) Er--er--yes, si=
r
{Starkweather}
I want them back. What is to be done?
(Dobleman remains in hopeless confusion.) Well=
!
{Dobleman}
(Speaking hurriedly and hopefully.) S-send for=
Mr.
Hubbard. He got them for you before.
{Starkweather}
A good suggestion. Telephone for him. You shou=
ld
find him at the Press Club.
(Dobleman starts to make exit to right.) Don't
leave the room. Use this telephone. (Indicating desk telephone.) (Dobleman
moves around to left of desk and uses telephone standing up.) From now on no
one leaves the room. If my daughter can be guilty of such a theft, it is pl=
ain
I can trust no one--no one.
{Dobleman}
(Speaking in transmitter.) Red 6-2-4. Yes, ple=
ase.
(Waits.)
{Starkweather}
(Rising.) Call Senator Chalmers as well. Tell =
him
to come immediately.
{Dobleman}
Yes, sir--immediately.
{Starkweather}
(Starting to cross stage to center and speakin=
g to
Margaret.) Come over here.
(Margaret follows. She is obedient, frightened,
very subdued--but resolved.)
Why have you done this? Were you truthful when=
you
said there was nothing between you and this man Knox?
{Margaret}
Father; don't discuss this before the--
(Indicating Dobleman.)--the servants.
{Starkweather}
You should have considered that before you sto=
le
the documents.
(Dobleman, in the meantime, is telephoning in a
low voice.)
{Margaret}
There are certain dignities--
{Starkweather}
(Interrupting.) Not for a thief.
(Speaking intensely and in a low voice.) Marga=
ret,
it is not too late. Give them back, and no one shall know.
(A pause, in which Margaret is silent, in the
throes of indecision.)
{Dobleman}
Mr. Hubbard says he will be here in three minu=
tes.
Fortunately, Senator Chalmers is with him.
(Starkweather nods and looks at Margaret.) (Do=
or
at left rear opens, and enter Mrs. Starkweather and Connie. They are dresse=
d for
the street and evidently just going out.)
{Mrs. Starkweather}
(Speaking in a rush.) We are just going out,
Anthony. You were certainly wrong in making us attempt to take that 2:10 tr=
ain.
I simply can't make it. I know I can't. It would have been much wiser--
(Suddenly apprehending the strain of the situa=
tion
between Starkweather and Margaret.)--Why, what is the matter?
{Starkweather}
(Patently disturbed by their entrance, speakin=
g to
Dobleman, who has finished with the telephone.) Lock the doors.
(Dobleman proceeds to obey.)
{Mrs. Starkweather}
Mercy me! Anthony! What has happened?
(A pause.) Madge! What has happened?
{Starkweather}
You will have to wait here a few minutes, that=
is
all.
{Mrs. Starkweather}
But I must keep my engagements. And I haven't a
minute to spare.
(Looking at Dobleman locking doors.) I do not
understand.
{Starkweather}
(Grimly,) You will, shortly. I can trust no one
any more. When my daughter sees fit to steal--
{Mrs. Starkweather}
Steal!--Margaret! What have you been doing now=
?
{Margaret}
Where is Tommy?
(Mrs. Starkwater is too confounded to answer, = and can only stare from face to face.) (Margaret looks her anxiety to Connie.)<= o:p>
{Connie}
He is already down in the machine waiting for =
us.
You are coming, aren't you?
{Starkweather}
Let him wait in the machine. Margaret will come
when I get done with her.
(A knock is heard at right rear.) (Starkweather
looks at Dobleman and signifies that he is to open door.)
(Dobleman unlocks door, and Hubbabd and Chalme=
rs
enter. Beyond the shortest of nods and recognitions with eyes, greetings ar=
e cut
short by the strain that is on all. Dobleman relocks door.)
{Starkweather}
(Plunging into it.) Look here, Tom. You know t= hose letters Gherst stole. Mr. Hubbard recovered them from Knox and returned the= m to me this morning. Within five minutes Margaret stole them from me--here, rig= ht in this room. She has not left the room. They are on her now. I want them.<= o:p>
{Chalmers}
(Who is obviously incapable of coping with his
wife, and who is panting for breath, his hand pressed to his side.) Madge, =
is
this true?
{Margaret}
I haven't them. I tell you I haven't them.
{Starkweather}
Where are they, then?
(She does not answer.)
If they are in the room we can find them. Sear=
ch
the room. Tom, Mr. Hubbard, Dobleman. They must be recovered at any cost.
(While a thorough search of the room is being
made, Mrs. Starkweather, overcome, has Connie assist her to seat at left. M=
argaret
also seats herself, in same chair at desk.)
{Chalmers}
(Pausing from search, while others continue.)
There is no place to look for them. They are not in the room. Are you sure =
you didn't
mislay them?
{Starkweather}
Nonsense. Margaret took them. They are a bulky
package and not easily hidden. If they aren't in the room, then she has the=
m on
her.
{Chalmers}
Madge, give them up.
{Margaret}
I haven't them.
(Chalmers, stepping suddenly up to her, starts
feeling for the papers, running his hands over her dress.)
{Margaret}
(Springing to her feet and striking him in the
face with her open palm.) How dare you!
(Chalmers recoils, Mrs. Starkweather is threat=
ened
with hysteria and is calmed by the frightened Connie, while Starkweather lo=
oks on
grimly.)
{Hubbard}
(Giving up search of room.) Possibly it would =
be
better to let me retire, Mr. Starkweather.
{Starkweather}
No; those papers are here in this room. If nob=
ody
leaves there will be no possible chance for the papers to get out of the ro=
om. What
would you recommend doing, Hubbard?
{Hubbard}
(Hesitatingly.) Under the circumstances I don't
like to suggest--
{Starkweather}
Go on.
{Hubbard}
First, I would make sure that she--er--Mrs.
Chalmers has taken them.
{Starkweather}
I have made that certain.
{Chalmers}
But what motive could she have for such an act=
?
(Hubbard looks wise.)
{Starkweather}
(To Hubbard.) You know more about this than wo=
uld
appear. What is it?
{Hubbard}
I'd rather not. It is too--
(Looks significantly at Mrs. Starkweather and =
Connie.)--er--delicate.
{Starkweather}
This affair has gone beyond all delicacy. What=
is
it?
{Margaret}
No! No!
(Chalmers and Starkweather look at her with su=
dden
suspicion.)
{Starkweather}
Go on, Mr. Hubbard.
{Hubbard}
I'd--I'd rather not.
{Starkweather}
(Savagely.) I say go on.
{Hubbard}
(With simulated reluctance.) Last night--I saw=
--I
was in Knox's rooms--
{Margaret}
(Interrupting.) One moment; please. Let him sp=
eak,
but first send Connie away.
{Starkweather}
No one shall leave this room till the documents
are produced. Margaret, give me the letters, and Connie can leave quietly, =
and even
will Hubbard's lips remain sealed. They will never breathe a word of whatev=
er
shameful thing his eyes saw. This I promise you.
(A pause, wherein he waits vainly for Margaret=
to
make a decision.) Go on, Hubbard.
{Margaret}
(Who is terror-stricken, and has been wavering=
.)
No! Don't! I'll tell. I'll give you back the documents.
(All are expectant She wavers again, and steels
herself to resolution.) No; I haven't them. Say all you have to say.
{Starkweather}
You see. She has them. She said she would give
them back.
(To Hubbard.) Go on.
{Hubbard}
Last night--
{Connie}
(Springing up.) I won't stay!
(She rushes to left rear and finds door locked=
.)
Let me out! Let me out!
{Mrs. Starkweather}
(Moaning and lying back in chair, legs stretch=
ed
out and giving preliminary twitches and jerks of hysteria.) I shall die! I
shall die! I know I shall die!
{Starkweather}
(Sternly, to Connie.) Go back to your mother.<= o:p>
{Connie}
(Returning reluctantly to side of Mrs.
Starkweather, sitting down beside her, and putting fingers in her own ears.=
) I
won't listen! I won't listen!
{Starkweather}
(Sternly.) Take your fingers down.
{Hubbard}
Hang it all, Chalmers, I wish I were out of th=
is.
I don't want to testify.
{Starkweather}
Take your fingers down.
(Connie reluctantly removes her fingers.) Now,
Hubbard.
{Hubbard}
I protest. I am being dragged into this.
{Chalmers}
You can't help yourself now. You have cast bla=
ck
suspicions on my wife.
{Hubbard}
All right. She--Mrs. Chalmers visited Knox in =
his
rooms last night.
{Mrs. Starkweather}
(Bursting out.) Oh! Oh! My Madge! It is a lie!=
A
lie! (Kicks violently with her legs.) (Connie soothes her.)
{Chalmers}
You've got to prove that, Hubbard. If you have
made any mistake it will go hard with you.
{Hubbard}
(Indicating Margaret.) Look at her. Ask her.
(Chalmers looks at Margaret with growing
suspicion.)
{Margaret}
Linda was with me. And Tommy. I had to see Mr.
Knox on a very important matter. I went there in the machine. I took Linda =
and Tommy
right into Mr. Knox's room.
{Chalmers}
(Relieved.) Ah, that puts a different complexi=
on
on it.
{Hubbard}
That is not all. Mrs. Chalmers sent the maid a=
nd
the boy down to the machine and remained.
{Margaret}
(Quickly.) But only for a moment
{Hubbard}
Much longer--much, much longer. I know how lon=
g I
was kicking my heels and waiting.
{Margaret}
(Desperately.) I say it was but for a moment--a
short moment.
{Starkweather}
(Abruptly, to Hubbard.) Where were you?
{Hubbard}
In Knox's bedroom. The fool had forgotten all
about me. He was too delighted with his--er--new visitor.
{Starkweather}
You said you saw.
{Hubbard}
The bedroom door was ajar. I opened it.
{Starkweather}
What did you see?
{Margaret}
(Appealing to Hubbard.) Have you no mercy? I s=
ay
it was only a moment.
(Hubbard shrugs his shoulders.)
{Starkweather}
We'll settle the length of that moment Tommy is
here, and so is the maid. Connie, Margaret's maid is here, isn't she? (Conn=
ie does
not answer.) Answer me!
{Connie}
Yes.
{Starkweather}
{Dobleman}.
Ring for a maid and tell her to fetch Tommy and
Mrs. Chalmer's maid.
(Dobleman goes to desk and pushes button once.=
)
{Margaret}
No! Not Tommy!
{Starkweather}
(Looking shrewdly at Margaret, to Dobleman.) M=
rs.
Chalmer's maid will do.
(A knock is heard at left rear. Dobleman opens
door and talks to maid. Closes door.)
{Starkweather}
Lock it.
(Dobleman locks door.)
{Chalmers}
(Coming over to Margaret.) So you, the immacul=
ate
one, have been playing fast and loose.
{Margaret}
You have no right to talk to me that way, Tom-=
-
{Chalmers}
I am your husband.
{Margaret}
You have long since ceased being that.
{Chalmers}
What do you mean?
{Margaret}
I mean just what you have in mind about yourse=
lf
right now.
{Chalmers}
Madge, you are merely conjecturing. You know
nothing against me.
{Margaret}
I know everything--and without evidence, if you
please. I am a woman. It is your atmosphere. Faugh! You have exhaled it for=
years.
I doubt not that proofs, as you would call them, could have been easily
obtained. But I was not interested. I had my boy. When he came, I gave you =
up,
Tom. You did not seem to need me any more.
{Chalmers}
And so, in retaliation, you took up with this
fellow Knox.
{Margaret}
=
No,
no. It is not true, Tom. I tell you it is not true.
{Chalmers}
You were there, last night, in his rooms,
alone--how long we shall soon find out--
(Knock is heard at left rear. Dobleman proceed=
s to
unlock door.) And now you have stolen your father's private papers for your=
lover.
{Margaret}
He is not my lover.
{Chalmers}
But you have acknowledged that you have the
papers. For whom, save Knox, could you have stolen them?
(Linda enters. She is white and strained, and
looks at Margaret for some cue as to what she is to do.)
{Starkweather}
That is the woman.
(To Linda.) Come here.
(Linda advances reluctantly.) Where were you l=
ast
night? You know what I mean.
(She does not speak.) Answer me.
{Linda}
I don't know what you mean, sir--unless--
{Starkweather}
Yes, that's it. Go on.
{Linda}
But I don't think you have any right to ask me
such questions. What if I--if I did go out with my young man--
{Starkweather}
(To Margaret.) A very faithful young woman you=
've
got.
(Briskly, to the others.) There's nothing to be
got out of her. Send for Tommy. Dobleman, ring the bell.
(Dobleman starts to obey.)
{Margaret}
(Stopping Dobleman.) No, no; not Tommy. Tell t=
hem,
Linda.
(Linda looks appealingly at her.)
(Kindly.) Don't mind me. Tell them the truth.<= o:p>
{Chalmers}
(Breaking in.) The whole truth.
{Margaret}
Yes, Linda, the whole truth.
(Linda, looking very woeful, nerves herself for
the ordeal.)
{Starkweather}
Never mind, Dobleman.
(To Linda.) Very well. You were at Mr. Knox's
rooms last night, with your mistress and Tommy.
{Linda}
Yes, sir.
{Starkweather}
Your mistress sent you and Tommy out of the ro=
om.
{Linda}
Yes, sir.
{Starkweather}
You waited in the machine.
{Linda}
Yes, sir.
{Starkweather}
(Abruptly springing the point he has been work=
ing
up to.) How long?
(Linda perceives the gist of the questioning j=
ust
as she is opening her mouth to reply, and she does not speak.)
{Margaret}
(With deliberate calmness of despair.) Half an
hour--an hour--any length of time your shameful minds dictate. That will do,
Linda. You can go.
{Starkweather}
No you don't. Stand over there to one side.
(To the others.) The papers are in this room, =
and
I shall keep my mind certain on that point.
{Hubbard}
I think I have shown the motive.
{Connie}
You are a beast!
{Chalmers}
You haven't told what you saw.
{Hubbard}
I saw them in each other's arms--several times.
Then I found the stolen documents where Knox had thrown them down. So I
pocketed them and closed the door.
{Chalmers}
How long after that did they remain together?<= o:p>
{Hubbard}
Quite a time, quite a long time.
{Chalmers}
And when you last saw them?
{Hubbard}
They were in each other's arms--quite
enthusiastically, I may say, in each other's arms. (Chalmers is crushed.)
{Margaret}
(To Hubbard.) You coward.
(Hubbard smiles.)
(To Starkweather.) When are you going to call =
off
this hound of yours?
{Starkweather}
When I get the papers. You see what you've been
made to pay for them already. Now listen to me closely. Tom, you listen, to=
o.
You know the value of these letters. If they are not recovered they will
precipitate a turn-over that means not merely money but control and power. I
doubt that even you would be re-elected. So what we have heard in this room
must be forgotten--absolutely forgotten. Do you understand?
{Chalmers}
But it is adultery.
{Starkweather}
It is not necessary for that word to be mentio=
ned.
The point is that everything must be as it was formerly.
{Chalmers}
Yes, I understand.
{Starkweather}
(To Margaret.) You hear. Tom will make no trou=
ble.
Now give me the papers. They are mine, you know.
{Margaret}
It seems to me the people, who have been lied =
to,
and cajoled, and stolen from, are the rightful owners, not you.
{Starkweather}
Are you doing this out of love for this--this =
man,
this demagogue?
{Margaret}
For the people, the children, the future.
{Starkweather}
Faugh! Answer me.
{Margaret}
(Slowly.) Almost I do not know. Almost I do not
know.
(A knock is heard at left rear. Dobleman answe=
rs.)
{Dobleman}
(Looking at card Maid has given him, to
Starkweather.) Mr. Rutland.
{Starkweather}
(Making an impatient gesture, then abruptly
changing his mind, speaking grimly.) Very well. Bring him in. I've paid a l=
ot
for the Church, now we'll see what the Church can do for me.
{Connie}
(Impulsively crossing stage to Margaret, putti=
ng
arms around her, and weeping.)
Please, please, Madge, give up the papers, and
everything will be hushed up. You heard what father said. Think what it mea=
ns
to me if this scandal comes out. Father will hush it up. Not a soul will da=
re
to breathe a word of it. Give him the papers.
{Margaret}
(Kissing her, shaking head, and setting her
aside.) No; I can't. But Connie, dearest--
(Connie pauses.) It is not true, Connie. He--h=
e is
not my lover. Tell me that you believe me.
{Connie}
(Caressing her.) I do believe you. But won't y=
ou
return the papers--for my sake?
(A knock at door.)
{Margaret}
I can't.
(Enter Rutland.)
(Connie returns to take care of Mrs.
Starkweather.)
{Rutland}
(Advances beamingly upon Starkweather.) My, wh=
at a
family gathering. I hastened on at once, my dear Mr. Starkweather, to thank=
you
in person, ere you fled away to New York, for your generously splendid--yes,
generously splendid--contribution--
(Here the strained situation dawns upon him, a=
nd
he remains helplessly with mouth open, looking from one to another.)
{Starkweather}
A theft has been committed, Mr. Rutland. My
daughter has stolen something very valuable from me--a package of private
papers, so important--well, if she succeeds in making them public I shall be
injured to such an extent financially that there won't be any more generous=
ly
splendid donations for you or anybody else. I have done my best to persuade=
her
to return what she has stolen. Now you try. Bring her to a realization of t=
he
madness of what she is doing.
{Rutland}
(Quite at sea, hemming and hawing.) As your
spiritual adviser, Mrs. Chalmers--if this be true--I recommend--I suggest--=
I--ahem--I
entreat--
{Margaret}
Please, Mr. Rutland, don't be ridiculous. Fath=
er
is only making a stalking horse out of you. Whatever I may have done, or not
done, I believe I am doing right. The whole thing is infamous. The people h=
ave
been lied to and robbed, and you are merely lending yourself to the infamy =
of
perpetuating the lying and the robbing. If you persist in obeying my father=
's
orders--yes, orders--you will lead me to believe that you are actuated by
desire for more of those generously splendid donations. (Starkweather sneer=
s.)
{Rutland}
(Embarrassed, hopelessly at sea.) This is, I
fear--ahem--too delicate a matter, Mr. Starkweather, for me to interfere. I
would suggest that it be advisable for me to withdraw--ahem--
{Starkweather}
(Musingly.) So the Church fails me, too.
(To Rutland.) No, you shall stay right here.
{Margaret}
Father, Tommy is down in the machine alone. Wo=
n't
you let me go?
{Starkweather}
Give me the papers.
(Mrs. Starkweather rises and totters across to
Margaret, moaning and whimpering.)
{Mrs. Starkweather}
Madge, Madge, it can't be true. I don't believe
it. I know you have not done this awful thing. No daughter of mine could be=
guilty
of such wickedness. I refuse to believe my ears--
(Mrs. Starkweather sinks suddenly on her knees
before Margaret, with clasped hands, weeping hysterically.)
{Starkweather}
(Stepping to her side.) Get up.
(Hesitates and thinks.) No; go on. She might
listen to you.
{Margaret}
(Attempting to raise her mother.) Don't, mothe=
r,
don't. Please get up.
(Mrs. Starkweather resists her hysterically.) =
You
don't understand, mother. Please, please, get up.
{Mrs. Starkweather}
Madge, I, your mother, implore you, on my bend=
ed
knees. Give up the papers to your father, and I shall forget all I have hea=
rd. Think
of the family name. I don't believe it, not a word of it; but think of the
shame and disgrace. Think of me. Think of Connie, your sister. Think of Tom=
my.
You'll have your father in a terrible state. And you'll kill me. (Moaning a=
nd
rolling her head.)
I'm going to be sick. I know I am going to be
sick.
{Margaret}
(Bending over mother and raising her, while Co=
nnie
comes across stage to help support mother.) Mother, you do not understand. =
More
is at stake than the good name of the family or--(Looking at Rutland.)--God.
You speak of Connie and Tommy. There are two millions of Connies and Tommys
working as child laborers in the United States to-day. Think of them. And
besides, mother, these are all lies you have heard. There is nothing between
Mr. Knox and me. He is not my lover. I am not the--the shameful thing--these
men have said I am.
{Connie}
(Appealingly.) Madge.
{Margaret}
(Appealingly.) Connie. Trust me. I am right. I
know I am right.
(Mrs. Starkweather, supported by Connie, moani=
ng
incoherently, is led back across stage to chair.)
{Starkweather}
{Margaret}, a few minutes ago, when you told me
there was nothing between you and this man, you lied to me--lied to me as o=
nly
a wicked woman can lie.
{Margaret}
It is clear that you believe the worst.
{Starkweather}
There is nothing less than the worst to be bel=
ieved.
Besides, more heinous than your relations with this man is what you have do=
ne
here in this room, stolen from me, and practically before my very eyes. Wel=
l,
you have crossed your will with mine, and in affairs beyond your province. =
This
is a man's game in which you are attempting to play, and you shall take the
consequences. Tom will apply for a divorce.
{Margaret}
That threat, at least, is without power.
{Starkweather}
And by that means we can break Knox as effectu=
ally
as by any other. That is one thing the good stupid people will not tolerate=
in
a chosen representative. We will make such a scandal of it--
{Mrs. Starkweather}
(Shocked.) Anthony!
{Starkweather}
(Glancing irritably at his wife and continuing=
.)
Another thing. Being proven an adulterous woman, morally unfit for
companionship with your child, your child will be taken away from you.
{Margaret}
No, no. That cannot be. I have done nothing wr=
ong.
No court, no fair-minded judge, would so decree on the evidence of a creatu=
re like
that.
(Indicating Hubbard.)
{Hubbard}
My evidence is supported. In an adjoining room
were two men. I happen to know, because I placed them there. They were your=
father's
men at that. There is such a thing as seeing through a locked door. They sa=
w.
{Margaret}
And they would swear to--to anything.
{Hubbard}
I doubt not they will know to what to swear.
{Starkweather}
Margaret, I have told you some, merely some, of
the things I shall do. It is not too late. Return the papers, and everythin=
g will
be forgotten.
{Margaret}
You would condone this--this adultery. You, who
have just said that I was morally unfit to have my own boy, will permit me =
to retain
him. I had never dreamed, father, that your own immorality would descend to
such vile depths. Believing this shameful thing of me, you will forgive and
forget it all for the sake of a few scraps of paper that stand for money, t=
hat
stand for a license to rob and steal from the people. Is this your
morality--money?
{Starkweather}
I have my morality. It is not money. I am only=
a
steward; but so highly do I conceive the duties of my stewardship--
{Margaret}
(Interrupting, bitterly.) The thefts and lies =
and
all common little sins like adulteries are not to stand in the way of your =
high
duties--that the end hallows the means.
{Starkweather}
(Shortly.) Precisely.
{Margaret}
(To Rutland.) There is Jesuitism, Mr. Rutland.=
I
would suggest that you, as my father's spiritual adviser--
{Starkweather}
Enough of this foolery. Give me the papers.
{Margaret}
I haven't them.
{Starkweather}
What's to be done, Hubbard?
{Hubbard}
She has them. She has as much as acknowledged =
that
they are not elsewhere in the room. She has not been out of the room. There=
is nothing
to do but search her.
{Starkweather}
Nothing else remains to be done. Dobleman, and
you, Hubbard, take her behind the screen. Strip her. Recover the papers.
(Dobleman is in a proper funk, but Hubbard bet=
rays
no unwillingness.)
{Chalmers}
No; that I shall not permit. Hubbard shall have
nothing to do with this.
{Margaret}
It is too late, Tom. You have stood by and all=
owed
me to be stripped of everything else. A few clothes do not matter now. If I=
am
to be stripped and searched by men, Mr. Hubbard will serve as well as any o=
ther
man. Perhaps Mr. Rutland would like to lend his assistance.
{Connie}
Oh, Madge! Give them up.
(Margaret shakes her head.)
(To Starkweather.) Then let me search her, fat=
her.
{Starkweather}
You are too willing. I don't want volunteers. I
doubt that I can trust you any more than your sister.
{Connie}
Let mother, then.
{Starkweather}
(Sneering.) Margaret could smuggle a steamer-t=
runk
of documents past her.
{Connie}
But not the men, father! Not the men!
{Starkweather}
Why not? She has shown herself dead to all sha=
me.
(Imperatively.) Dobleman!
{Dobleman}
(Thinking his time has come, and almost dying.)
Y-y-yes, sir.
{Starkweather}
Call in the servants.
{Mrs. Starkweather}
(Crying out in protest.) Anthony!
{Starkweather}
Would you prefer her to be searched by the men=
?
{Mrs. Starkweather}
(Subsiding.) I shall die, I shall die. I know I
shall die.
{Starkweather}
Dobleman. Ring for the servants.
(Dobleman, who has been hesitant, crosses to d=
esk
and pushes button, then returns toward door.) Send in the maids and the hou=
sekeeper.
(Linda, blindly desiring to be of some assista=
nce,
starts impulsively toward Margaret.) Stand over there--in the corner.
(Indicating right front.)
(Linda pauses irresolutely and Margaret nods to
her to obey and smiles encouragement. Linda, protesting in every fiber of h=
er, goes
to right front.)
(A knock at right rear and Dobleman unlocks do=
or,
confers with maid, and closes and locks door.)
{Starkweather}
(To Margaret.) This is no time for trifling, n=
or
for mawkish sentimentality. Return the papers or take the consequences.
(Margaret makes no answer.)
{Chalmers}
You have taken a hand in a man's game, and you=
've
got to play it out or quit. Give up the papers.
(Margaret remains resolved and impassive.)
{Hubbard}
(Suavely.) Allow me to point out, my dear Mrs.
Chalmers, that you are not merely stealing from your father. You are playing
the traitor to your class.
{Starkweather}
And causing irreparable damage.
{Margaret}
(Firing up suddenly and pointing to Lincoln's
portrait) I doubt not he caused irreparable damage when he freed the slaves=
and
preserved the Union. Yet he recognized no classes. I'd rather be a traitor =
to
my class than to him.
{Starkweather}
Demagoguery. Demagoguery.
(A knock at right rear. Dobleman opens door. E=
nter
Mrs. Middleton who is the housekeeper, followed by two Housemaids. They pau=
se at
rear. Housekeeper to the fore and looking expectantly at Starkweather. The
Maids appear timid and frightened.)
{Housekeeper}
Yes, sir.
{Starkweather}
Mrs. Middleton, you have the two maids to assi=
st
you. Take Mrs. Chalmers behind that screen there and search her. Strip all =
her
clothes from her and make a careful search. (Maids show perturbation.)
{Housekeeper}
(Self-possessed. ) Yes, sir. What am I to sear=
ch
for?
{Starkweather}
Papers, documents, anything unusual. Turn them
over to me when you find them.
{Margaret}
(In a sudden panic.) This is monstrous! This is
monstrous!
{Starkweather}
So is your theft of the documents monstrous.
{Margaret}
(Appealing to the other men, ignoring Rutland =
and
not considering Dobleman at all.)
You cowards! Will you stand by and permit this
thing to be done? Tom, have you one atom of manhood in you?
{Chalmers} (Doggedly.) Return the papers, then=
.
{Margaret}
Mr. Rutland--
{Rutland}
(Very awkwardly and oilily.) My dear Mrs.
Chalmers. I assure you the whole circumstance is unfortunate. But you are so
palpably in the wrong that I cannot interfere--(Margaret turns from him in =
withering
scorn.)--That I cannot interfere.
{Dobleman}
(Breaking down unexpectedly.) I cannot stand i=
t. I
leave your employ, sir. It is outrageous. I resign now, at once. I cannot b=
e a
party to this.
(Striving to unlock door.) I am going at once.=
You
brutes! You brutes!
(Breaks into convulsive sobbings.)
{Chalmers}
Ah, another lover, I see.
(Dobleman manages to unlock door and starts to
open it.)
{Starkweather}
You fool! Shut that door!
(Dobleman hesitates.) Shut it!
(Dobleman obeys.) Lock it!
(Dobleman obeys.)
{Margaret}
(Smiling wistfully, benignantly.) Thank you, M=
r.
Dobleman.
(To Starkweather.) Father, you surely will not
perpetrate this outrage, when I tell you, I swear to you--
{Starkweather}
(Interrupting.) Return the documents then.
{Margaret}
I swear to you that I haven't them. You will n=
ot find
them on me.
{Starkweather}
You have lied to me about Knox, and I have no
reason to believe you will not lie to me about this matter.
{Margaret}
(Steadily.) If you do this thing you shall cea=
se
to be my father forever. You shall cease to exist so far as I am concerned.=
{Starkweather}
You have too much of my own will in you for you
ever to forget whence it came. Mrs. Middleton, go ahead.
(Housekeeper, summoning Maids with her eyes,
begins to advance on Margaret.)
{Connie}
(In a passion.) Father, if you do this I shall
never speak to you again.
(Breaks down weeping.) (Mrs. Starkweather, dur= ing following scene, has mild but continuous shuddering and weeping hysteria.)<= o:p>
{Starkweather}
(Briskly, looking at watch.) I've wasted enough
time on this. Mrs. Middleton, proceed.
{Margaret}
(Wildly, backing away from Housekeeper.) I will
not tamely submit. I will resist, I promise you.
{Starkweather}
Use force, if necessary.
(The Maids are reluctant, but Housekeeper comm=
ands
them with her eyes to close in on Margaret, and they obey.)
(Margaret backs away until she brings up again=
st
desk.)
{Housekeeper}
Come, Mrs. Chalmers.
(Margaret stands trembling, but refuses to not=
ice
Housekeeper.) (Housekeeper places hand on Margaret's arm.)
{Margaret}
(Violently flinging the hand off, crying
imperiously.) Stand back!
(Housekeeper instinctively shrinks back, as do
Maids. But it is only for the moment. They close in upon Margaret to seise
her.)
(Crying frantically for help.) Linda! Linda!
(Linda springs forward to help her mistress, b=
ut
is caught and held struggling by Chalmers, who twists her arm and finally c=
ompels
her to become quiet.)
(Margaret, struggling and resisting, is hustled
across stage and behind screen, the Maids warming up to their work. One of =
them
emerges from behind screen for the purpose of getting a chair, upon which
Margaret is evidently forced to sit. The screen is of such height, that
occasionally, when standing up and struggling, Margaret's bare arms are vis=
ible
above the top of it. Muttered exclamations are heard, and the voice of
Housekeeper trying to persuade Margaret to sub-mit.)
{Margaret}
(Abruptly, piteously.) No! No!
(The struggle becomes more violent, and the sc= reen is overturned, disclosing Margaret seated on chair, partly undressed, and c= lutching an envelope in her hand which they are trying to force her to relinquish.)<= o:p>
{Mrs. Starkweather}
(Crying wildly.) Anthony! They are taking her
clothes off!
(Renewed struggle of Linda with Chalmers at the
sight.)
(Starkweather, calling Rutland to his assistan=
ce,
stands screen up again, then, as an afterthought, pulls screen a little fur=
ther
away from Margaret.)
{Margaret}
No! No!
(Housekeeper appears triumphantly with envelop=
e in
her hand and hands it to Hubbard.)
{Hubbard}
(Immediately.) That's not it.
(Glances at address and starts.) It's addresse=
d to
Knox.
{Starkweather}
Tear it open. Read it.
(Hubbard tears envelope open.) (While this is
going on, struggle behind screen is suspended.)
{Hubbard}
(Withdrawing contents of envelope.) It is only=
a
photograph--of Mrs. Chalmers.
(Reading.) "For the future--Margaret.&quo=
t;
{Chalmers}
(Thrusting Linda back to right front and strid=
ing
up to Hubbard.) Give it to me. (Hubbard passes it to him, and he looks at i=
t, crumples
it in his hand, and grinds it under foot.)
{Starkweather}
That is not what we wanted, Mrs. Middleton. Go=
on
with the search.
(The search goes on behind the screen without =
any
further struggling.) (A pause, during which screen is occasionally agitated=
by
the searchers removing Margaret's garments.)
{Housekeeper}
(Appearing around corner of screen.) I find
nothing else, sir.
{Starkweather}
Is she stripped?
{Housekeeper}
Yes, sir.
{Starkweather}
Every stitch?
{Housekeeper}
(Disappearing behind screen instead of answeri=
ng
for a pause, during which it is patent that the ultimate stitch is being re=
moved,
then reappearing.) Yes, sir.
{Starkweather}
Nothing?
{Housekeeper}
Nothing.
{Starkweather}
Throw out her clothes--everything.
(A confused mass of feminine apparel is tossed
out, falling near Dobleman's feet, who, in consequence, is hugely mortified=
and
embarrassed.)
(Chalmers examines garments, then steps behind
screen a moment, and reappears.)
{Chalmers}
Nothing.
(Chalmers, Starkweather, and Hubbard gaze at e=
ach
other dumbfoundedly.)
(The two Maids come out from behind screen and
stand near door to right rear.)
(Starkweather is loath to believe, and steps to
Margaret's garments and overhauls them.)
{Starkweather}
(To Chalmers, looking inquiringly toward scree=
n.)
Are you sure?
{Chalmers}
Yes; I made certain. She hasn't them.
{Starkweather}
(To Housekeeper.) Mrs. Middleton, examine those
girls.
{Housekeeper}
(Passing hands over dresses of Maids.) No, sir=
.
{Margaret}
(From behind screen, in a subdued, spiritless
voice.) May I dress--now?
(Nobody answers.) It--it is quite chilly.
(Nobody answers.) Will you let Linda come to m=
e,
please?
(Starkweather nods savagely to Linda, to obey.)
(Linda crosses to garments, gathers them up, and disappears behind screen.)=
{Starkweather}
(To Housekeeper.)
You may go.
(Exit Housekeeper and the two Maids.)
{Dobleman}
(Hesitating, after closing door.) Shall I lock=
it?
(Starkweather does not answer, and Dobleman le=
aves
door unlocked.)
{Connie}
(Rising.) May I take mother away?
(Starkweather, who is in a brown study, nods.)
(Connie assists Mrs. Starkweather to her feet.)
{Mrs. Starkweather}
(Staggering weakly, and sinking back into chai=
r.)
Let me rest a moment, Connie. I'll be better. (To Starkweather, who takes n=
o notice.)
Anthony, I am going to bed. This has been too much for me. I shall be sick.=
I
shall never catch that train to-day.
(Shudders and sighs, leans head back, closes e=
yes,
and Connie fans her or administers smelling salts.)
{Chalmers}
(To Hubbard.) What's to be done?
{Hubbard}
(Shrugging shoulders.) I'm all at sea. I had j=
ust
left the letters with him, when Mrs. Chalmers entered the room. What's beco=
me
of them? She hasn't them, that's certain.
{Chalmers}
But why? Why should she have taken them?
{Hubbard}
(Dryly, pointing to crumpled photograph on flo=
or.)
It seems very clear to me.
{Chalmers}
You think so? You think so?
{Hubbard}
I told you what I saw last night at his rooms.
There is no other explanation.
{Chalmers}
(Angrily.) And that's the sort he is--vaunting=
his
moral superiority--mouthing phrases about theft--our theft--and himself the
greatest thief of all, stealing the dearest and sacredest things--
(Margaret appears from behind screen, pinning =
on
her hat. She is dressed, but somewhat in disarray, and Linda follows, pulli=
ng
and touching and arranging. Margaret pauses near to Rutland, but does not s=
eem
to see him.)
{Rutland}
(Lamely.) It is a sad happening--ahem--a sad
happening. I am grieved, deeply grieved. I cannot tell you, Mrs. Chalmers, =
how
grieved I am to have been compelled to be present at this--ahem--this
unfortunate--
(Margaret withers him with a look and he awkwa=
rdly
ceases.)
{Margaret}
After this, father, there is one thing I shall
do--
{Chalmers}
(Interrupting.) Go to your lover, I suppose.
{Margaret} (Coldly.) Have it that way if you
choose.
{Chalmers}
And take him what you have stolen--
{Starkweather}
(Arousing suddenly from brown study.) But she
hasn't them on her. She hasn't been out of the room. They are not in the ro=
om.
Then where are they?
(During the following, Margaret goes to the do=
or,
which Dobleman opens. She forces Linda to go out and herself pauses in open
door to listen.)
{Hubbard}
(Uttering an exclamation of enlightenment, goi=
ng
rapidly across to window at left and raising it.) It is not locked. It move=
s noiselessly.
There's the explanation.
(To Starkweather.) While you were at the safe,
with your back turned, she lifted the window, tossed the papers out to some=
body
waiting--
(He sticks head and shoulders out of window, p=
eers
down, then brings head and shoulders back.)--No; they are not there. Somebo=
dy
was waiting for them.
{Starkweather}
But how should she know I had them? You had on=
ly
just recovered them?
{Hubbard}
Didn't Knox know right away last night that I =
had
taken them? I took the up-elevator instead of the down when I heard him run=
ning
along the hall. Trust him to let her know what had happened. She was the on=
ly
one who could recover them for him. Else why did she come here so immediate=
ly
this morning? To steal the package, of course. And she had some one waiting
outside. She tossed them out and closed the window--
(He closes window.)--You notice it makes no
sound.--and sat down again--all while your back was turned.
{Starkweather}
Margaret, is this true?
{Margaret}
(Excitedly.) Yes, the window. Why didn't you t=
hink
of it before? Of course, the window. He--somebody was waiting. They are gon=
e now--miles
and miles away. You will never get them. They are in his hands now. He will=
use
them in his speech this afternoon. (Laughs wildly.)
(Suddenly changing her tone to mock meekness,
subtle with defiance.) May I go--now?
(Nobody answers, and she makes exit.) (A momen=
ts
pause, during which Starkweather, Chalmers, and Hubbard look at each other =
in stupefaction.)
Scene. Same as Act I. It is half past one of s=
ame
day. Curtain discloses Knox seated at right front and waiting. He is deject=
ed in
attitude.
(Margaret enters from right rear, and advances=
to
him. He rises awkwardly and shakes hands. She is very calm and self-possess=
ed.)
{Margaret}
I knew you would come. Strange that I had to s=
end
for you so soon after last night--
(With alarm and sudden change of manner.) What=
is
the matter? You are sick. Your hand is cold.
(She warms it in both of her hands.)
{Knox}
It is flame or freeze with me.
(Smiling.) And I'd rather flame.
{Margaret}
(Becoming aware that she is warming his hand.)=
Sit down and tell me what is the matter.
(Leading him by the hand she seats him, at the
same time seating herself.)
{Knox}
(Abruptly.) After you left last night, Hubbard
stole those documents back again.
{Margaret}
(Very matter-of-fact.) Yes; he was in your bed=
room
while I was there.
{Knox}
(Startled.) How do you know that? Anyway, he d=
id
not know who you were.
{Margaret}
Oh yes he did.
{Knox}
(Angrily.) And he has dared--?
{Margaret}
Yes; not two hours ago. He announced the fact
before my father, my mother, Connie, the servants, everybody.
{Knox}
(Rising to his feet and beginning to pace
perturbedly up and down.) The cur!
{Margaret} (Quietly.) I believe, among other
things, I told him he was that myself.
(She laughs cynically.) Oh, it was a pretty fa= mily party, I assure you. Mother said she didn't believe it--but that was only hysteria. Of course she believes it--the worst. So does Connie--everybody.<= o:p>
{Knox}
(Stopping abruptly and looking at her
horror-stricken.) You don't mean they charged----?
{Margaret}
No; I don't mean that. I mean more. They didn't
charge. They accepted it as a proven fact that I was guilty. That you were =
my--lover.
{Knox}
On that man's testimony?
{Margaret}
He had two witnesses in an adjoining room.
{Knox}
(Relieved.) All the better. They can testify to
nothing more than the truth, and the truth is not serious. In our case it is
good, for we renounced each other.
{Margaret}
You don't know these men. It is easy to guess =
that
they have been well trained. They would swear to anything.
(She laughs bitterly.) They are my father's me=
n,
you know, his paid sleuth-hounds.
{Knox}
(Collapsing in chair, holding head in hands, a=
nd
groaning.) How you must have suffered. What a terrible time, what a terribl=
e time!
I can see it all--before everybody--your nearest and dearest. Ah, I could n=
ot
understand, after our parting last night, why you should have sent for me
today. But now I know.
{Margaret}
No you don't, at all.
{Knox}
(Ignoring her and again beginning to pace back=
and
forth, thinking on his feet.) What's the difference? I am ruined politicall=
y.
Their scheme has worked out only too well. Gifford warned me, you warned me,
everybody warned me. But I was a fool, blind--with a fool's folly. There is
nothing left but you now.
(He pauses, and the light of a new thought
irradiates his face.) Do you know, Margaret, I thank God it has happened as=
it has.
What if my usefulness is destroyed? There will be other men--other leaders.=
I
but make way for another. The cause of the people can never be lost. And th=
ough
I am driven from the fight, I am driven to you. We are driven together. It =
is
fate. Again I thank God for it.
(He approaches her and tries to clasp her in h=
is
arms, but she steps back.)
{Margaret}
(Smiling sadly.) Ah, now you flame. The tables=
are
reversed. Last night it was I. We are fortunate that we choose diverse times
for our moods--else there would be naught but one sweet melting mad disaste=
r.
{Knox}
But it is not as if we had done this thing
deliberately and selfishly. We have renounced. We have struggled against it
until we were beaten. And now we are driven together, not by our doing but
Fate's. After this affair this morning there is nothing for you but to come=
to
me. And as for me, despite my best, I am finished. I have failed. As I told
you, the papers are stolen. There will be no speech this afternoon.
{Margaret}
(Quietly.) Yes there will.
{Knox}
Impossible. I would make a triple fool of myse=
lf.
I would be unable to substantiate my charges.
{Margaret}
You will substantiate them. What a chain of th=
eft
it is. My father steals from the people. The documents that prove his steal=
ing
are stolen by Gherst. Hubbard steals them from you and returns them to my
father. And I steal them from my father and pass them back to you.
{Knox} (Astounded.) You?--You?--
{Margaret}
Yes; this very morning. That was the cause of =
all
the trouble. If I hadn't stolen them nothing would have happened. Hubbard h=
ad just
returned them to my father.
{Knox}
(Profoundly touched.) And you did this for me-=
-?
{Margaret}
Dear man, I didn't do it for you. I wasn't bra=
ve
enough. I should have given in. I don't mind confessing that I started to d=
o it
for you, but it soon grew so terrible that I was afraid. It grew so terrible
that had it been for you alone I should have surrendered. But out of the te=
rror
of it all I caught a wider vision, and all that you said last night rose be=
fore
me. And I knew that you were right. I thought of all the people, and of the
little children. I did it for them, after all. You speak for them. I stole =
the
papers so that you could use them in speaking for the people. Don't you see,
dear man?
(Changing to angry recollection.) Do you know =
what
they cost me? Do you know what was done to me, to-day, this morning, in my =
father's
house? I was shamed, humiliated, as I would never have dreamed it possible.=
Do
you know what they did to me? The servants were called in, and by them I was
stripped before everybody--my family, Hubbard, the Reverend Mr. Rutland, th=
e secretary,
everybody.
{Knox}
(Stunned.) Stripped--you?
{Margaret}
Every stitch. My father commanded it
{Knox}
(Suddenly visioning the scene.) My God!
{Margaret}
(Recovering herself and speaking cynically, wi=
th a
laugh at his shocked face.) No; it was not so bad as that. There was a scre=
en.
(Knox appears somewhat relieved.) But it fell =
down
in the midst of the struggle.
{Knox}
But in heaven's name why was this done to you?=
{Margaret}
Searching for the lost letters. They knew I had
taken them.
(Speaking gravely.)
So you see, I have earned those papers. And I =
have
earned the right to say what shall be done with them. I shall give them to =
you,
and you will use them in your speech this afternoon.
{Knox}
I don't want them.
{Margaret}
(Going to bell and ringing.) Oh yes you do. Th=
ey
are more valuable right now than anything else in the world.
{Knox}
(Shaking his head.) I wish it hadn't happened.=
{Margaret}
(Returning to him, pausing by his chair, and
caressing his hair.) What?
{Knox}
This morning--your recovering the letters. I h=
ad
adjusted myself to their loss, and the loss of the fight, and the finding o=
f--you.
(He reaches up, draws down her hand, and press=
es
it to his lips.) So--give them back to your father.
(Margaret draws quickly away from him.) (Enter
Man-servant at right rear.)
{Margaret}
Send Linda to me.
(Exit Man-servant.)
{Knox}
What are you doing?
{Margaret}
(Sitting down.) I am going to send Linda for t=
hem.
They are still in my father's house, hidden, of all places, behind Lincoln'=
s portrait.
He will guard them safely, I know.
{Knox}
(With fervor.) Margaret! Margaret! Don't send =
for
them. Let them go. I don't want them.
(Rising and going toward her impulsively.)
(Margaret rises and retreats, holding him off.) I want you--you--you.
(He catches her hand and kisses it. She tears =
it
away from him, but tenderly.)
{Margaret}
(Still retreating, roguishly and tenderly.) De=
ar,
dear man, I love to see you so. But it cannot be.
(Looking anxiously toward right rear.) No, no,
please, please sit down.
(Enter Linda from right rear. She is dressed f=
or
the street.)
{Margaret}
(Surprised.) Where are you going?
{Linda}
Tommy and the nurse and I were going down town.
There is some shopping she wants to do.
{Margaret}
Very good. But go first to my father's house.
Listen closely. In the library, behind the portrait of Lincoln--you know it?
(Linda nods.)
You will find a packet of papers. It took me f=
ive
seconds to put it there. It will take you no longer to get it. Let no one s=
ee you.
Let it appear as though you had brought Tommy to see his grandmother and ch=
eer
her up. You know she is not feeling very well just now. After you get the
papers, leave Tommy there and bring them immediately back to me. Step on a
chair to the ledge of the bookcase, and reach behind the portrait. You shou=
ld
be back inside fifteen minutes. Take the car.
{Linda}
Tommy and the nurse are already in it, waiting=
for
me.
{Margaret}
Be careful. Be quick.
(Linda nods to each instruction and makes exit=
.)
{Knox}
(Bursting out passionately.) This is madness. =
You
are sacrificing yourself, and me. I don't want them. I want you. I am tired=
. What
does anything matter except love? I have pursued ideals long enough. Now I =
want
you.
{Margaret}
(Gravely.) Ah, there you have expressed the pi=
th
of it. You will now forsake ideals for me--(He attempts to interrupt.) No, =
no; not
that I am less than an ideal. I have no silly vanity that way. But I want y=
ou
to remain ideal, and you can only by going on--not by being turned back.
Anybody can play the coward and assert they are fatigued. I could not love a
coward. It was your strength that saved us last night. I could not have lov=
ed
you as I do, now, had you been weak last night. You can only keep my love--=
{Knox}
(Interrupting, bitterly.) By foregoing it--for=
an
ideal. Margaret, what is the biggest thing in the world? Love. There is the
greatest ideal of all.
{Margaret}
(Playfully.) Love of man and woman?
{Knox}
What else?
{Margaret}
(Gravely.) There is one thing greater--love of=
man
for his fellowman.
{Knox}
Oh, how you turn my preachments back on me. It=
is
a lesson. Nevermore shall I preach. Henceforth--
{Margaret}
Yes.
(Chalmers enters unobserved at left, pauses, a=
nd
looks on.)
{Knox}
Henceforth I love. Listen.
{Margaret}
You are overwrought. It will pass, and you will
see your path straight before you, and know that I am right. You cannot run=
away
from the fight.
{Knox}
I can--and will. I want you, and you want me--=
the
man's and woman's need for each other. Come, go with me--now. Let us snatch=
at
happiness while we may.
(He arises, approaches her, and gets her hand =
in
his. She becomes more complaisant, and, instead of repulsing him, is willin=
g to
listen and receive.) As I have said, the fight will go on just the same. Sc=
ores
of men, better men, stronger men, than I, will rise to take my place. Why d=
o I
talk this way? Because I love you, love you, love you. Nothing else exists =
in
all the world but love of you.
{Margaret}
(Melting and wavering.) Ah, you flame, you fla=
me.
(Chalmers utters an inarticulate cry of rage a=
nd
rushes forward at Knox)
(Margaret and Knox are startled by the cry and
discover Chalmer's presence.)
{Margaret}
(Confronting Chalmers and thrusting him slight=
ly
back from Knox, and continuing to hold him off from Knox.) No, Tom, no dram=
atics,
please. This excitement of yours is only automatic and conventional. You re=
ally
don't mean it. You don't even feel it. You do it because it is expected of =
you
and because it is your training. Besides, it is bad for your heart. Remember
Dr. West's warning--
(Chalmers, making an unusually violent effort =
to
get at Knox, suddenly staggers weakly back, signs of pain on his face, hold=
ing a
hand convulsively clasped over his heart. Margaret catches him and supports=
him
to a chair, into which he collapses.)
{Chalmers}
(Muttering weakly.) My heart! My heart!
{Knox}
(Approaching.) Can I do anything?
{Margaret}
(Calmly.) No; it is all right. He will be bett=
er
presently.
(She is bending over Chalmers, her hand on his
wrist, when suddenly, as a sign he is recovering, he violently flings her h=
and
off and straightens up.)
{Knox}
(Undecidedly.) I shall go now.
{Margaret}
No. You will wait until Linda comes back. Besi=
des,
you can't run away from this and leave me alone to face it.
{Knox}
(Hurt, showing that he will stay.) I am not a
coward.
{Chalmers}
(In a stifled voice that grows stronger.) Yes;
wait I have a word for you.
(He pauses a moment, and when he speaks again =
his
voice is all right.)
(Witheringly.) A nice specimen of a reformer, I
must say. You, who babbled yesterday about theft. The most high, righteous =
and noble
Ali Baba, who has come into the den of thieves and who is also a thief.
(Mimicking Margaret.) "Ah, you flame, you
flame!"
(In his natural voice.) I should call you; you
thief, you thief, you wife-stealer, you.
{Margaret}
(Coolly.) I should scarcely call it theft.
{Chalmers}
(Sneeringly.) Yes; I forgot. You mean it is not
theft for him to take what already belongs to him.
{Margaret}
Not quite that--but in taking what has been fr=
eely
offered to him.
{Chalmers}
You mean you have so forgotten your womanhood =
as
to offer--
{Margaret}
Just that. Last night. And Mr. Knox did himself
the honor of refusing me.
{Knox}
(Bursting forth.) You see, nothing else remain=
s,
Margaret.
{Chalmers}
(Twittingly.) Ah, "Margaret."
{Knox}
(Ignoring him.) The situation is intolerable.<= o:p>
{Chalmers}
(Emphatically). It is intolerable. Don't you t=
hink
you had better leave this house? Every moment of your presence dishonors it=
.
{Margaret}
Don't talk of honor, Tom.
{Chalmers}
I make no excuses for myself. I fancy I never
fooled you very much. But at any rate I never used my own house for such pu=
rposes.
{Knox}
(Springing at him.) You cur!
{Margaret}
(Interposing.) No; don't. His heart.
{Chalmers}
(Mimicking Margaret.) No dramatics, please.
{Margaret}
(Plaintively, looking from one man to the othe=
r.)
Men are so strangely and wonderfully made. What am I to do with the pair of=
you?
Why won't you reason together like rational human beings?
{Chalmers}
(Bitterly gay, rising to his feet.) Yes; let us
come and reason together. Be rational. Sit down and talk it over like civil=
ized
humans. This is not the stone age. Be reassured, Mr. Knox. I won't brain yo=
u.
Margaret--
(Indicating chair,) Sit down. Mr. Knox--
(Indicating chair.) Sit down.
(All three seat themselves, in a triangle.) Be=
hold
the problem--the ever ancient and ever young triangle of the playwright and=
the
short story writer--two men and a woman.
{Knox}
True, and yet not true. The triangle is
incomplete. Only one of the two men loves the woman.
{Chalmers}
Yes?
{Knox}
And I am that man.
{Chalmers}
I fancy you're right.
(Nodding his head.) But how about the woman?
{Margaret}
She loves one of the two men.
{Knox}
And what are you going to do about it?
{Chalmers}
(Judicially.) She has not yet indicated the ma=
n.
(Margaret is about to indicate Knox.) Be caref=
ul,
Madge. Remember who is Tommy's father.
{Margaret}
Tom, honestly, remembering what the last years
have been can you imagine that I love you?
{Chalmers}
I'm afraid I've not--er--not flamed sufficient=
ly.
{Margaret}
You have possibly spoken nearer the truth than=
you
dreamed. I married you, Tom, hoping great things of you. I hoped you would =
be a
power for good--
{Chalmers}
Politics again. When will women learn they must
leave politics alone?
{Margaret}
And also, I hoped for love. I knew you didn't =
love
me when we married, but I hoped for it to come.
{Chalmers}
And--er--may I be permitted to ask if you loved
me?
{Margaret}
No; but I hoped that, too, would come.
{Chalmers}
It was, then, all a mistake.
{Margaret}
Yes; yours, and mine, and my father's.
{Knox}
We have sat down to reason this out, and we get
nowhere. Margaret and I love each other. Your triangle breaks.
{Chalmers}
It isn't a triangle after all. You forget Tomm=
y.
{Knox} (Petulantly.) Make it four-sided, then,=
but
let us come to some conclusion.
{Chalmers} (Reflecting.) Ah, it is more than t=
hat.
There is a fifth side. There are the stolen letters which Madge has just th=
is
morning restolen from her father. Whatever settlement takes place, they must
enter into it.
(Changing his tone.) Look here, Madge, I am a
fool. Let us talk sensibly, you and Knox and I. Knox, you want my wife. You=
can
have her--on one consideration. Madge, you want Knox. You can have him on o=
ne
consideration, the same consideration. Give up the letters and we'll forget
everything.
{Margaret}
Everything?
{Chalmers}
Everything. Forgive and forget You know.
{Margaret}
You will forgive my--I--this--this adultery?
{Chalmers}
(Doggedly.) I'll forgive anything for the lett=
ers.
I've played fast and loose with you, Madge, and I fancy your playing fast a=
nd
loose only evens things up. Return the letters and you can go with Knox
quietly. I'll see to that. There won't be a breath of scandal. I'll give yo=
u a
divorce. Or you can stay on with me if you want to. I don't care. What I wa=
nt
is the letters. Is it agreed?
(Margaret seems to hesitate.)
{Knox}
(Pleadingly.) Margaret.
{Margaret}
{Chalmers} (Testily.) Am I not giving you each
other? What more do you want? Tommy stays with me. If you want Tommy, then =
stay
with me, but you must give up the letters.
{Margaret}
I shall not go with Mr. Knox. I shall not give=
up
the letters. I shall remain with Tommy.
{Chalmers}
So far as I am concerned, Knox doesn't count in
this. I want the letters and I want Tommy. If you don't give them up, I'll
divorce you on statutory grounds, and no woman, so divorced, can keep her c=
hild.
In any event, I shall keep Tommy.
{Margaret}
(Speaking steadily and positively.) Listen, To=
m;
and you, too, Howard. I have never for a moment entertained the thought of =
giving
up the letters. I may have led you to think so, but I wanted to see just how
low, you, Tom, could sink. I saw how low you--all of you--this morning sank=
. I
have learned--much. Where is this fine honor, Tom, which put you on a
man-killing rage a moment ago? You'll barter it all for a few scraps of pap=
er,
and forgive and forget adultery which does not exist--
(Chalmers laughs skeptically.)--though I know =
when
I say it you will not believe me. At any rate, I shall not give up the lett=
ers.
Not if you do take Tommy away from me. Not even for Tommy will I sacrifice =
all
the people. As I told you this morning, there are two million Tommys,
child-laborers all, who cannot be sacrificed for Tommy's sake or anybody's
sake.
(Chalmers shrugs his shoulders and smiles in
ridicule.)
{Knox}
Surely, Margaret, there is a way out for us. G=
ive
up the letters. What are they?--only scraps of paper. Why match them agains=
t happiness--our
happiness?
{Margaret}
But as you told me yourself, those scraps of p=
aper
represent the happiness of millions of lives. It is not our happiness that =
is matched
against some scraps of paper. It is our happiness against millions of lives=
--like
ours. All these millions have hearts, and loves, and desires, just like our=
s.
{Knox}
But it is a great social and cosmic process. It
does not depend on one man. Kill off, at this instant, every leader of the =
people,
and the process will go on just the same. The people will come into their o=
wn.
Theft will be unseated. It is destiny. It is the process. Nothing can stop =
it.
{Margaret}
But it can be retarded.
{Knox}
You and I are no more than straws in relation =
to
it. We cannot stop it any more than straws can stop an ocean tide. We mean =
nothing--except
to each other, and to each other we mean all the world.
{Margaret}
(Sadly and tenderly.) All the world and
immortality thrown in.
{Chalmers}
(Breaking in.) Nice situation, sitting here and
listening to a strange man woo my wife in terms of sociology and scientific=
slang.
(Both Margaret and Knox ignore him.)
{Knox}
Dear, I want you so.
{Margaret}
(Despairingly.) Oh! It is so hard to do right!=
{Knox}
(Eagerly.) He wants the letters very badly. Gi=
ve
them up for Tommy. He will give Tommy for them.
{Chalmers}
No; emphatically no. If she wants Tommy she can
stay on; but she must give up the letters. If she wants you she may go; but=
she
must give up the letters.
{Knox}
(Pleading for a decision.) Margaret.
{Margaret}
Howard. Don't tempt me and press me. It is hard
enough as it is.
{Chalmers}
(Standing up.) I've had enough of this. The th=
ing
must be settled, and I leave it to you, Knox. Go on with your love-making. =
But
I won't be a witness to it. Perhaps I--er--retard the--er--the flame proces=
s.
You two must make up your minds, and you can do it better without me. I am
going to get a drink and settle my nerves. I'll be back in a minute.
(He moves toward exit to right.) She will yiel=
d,
Knox. Be warm, be warm.
(Pausing in doorway.) Ah, you flame! Flame to =
some
purpose. (Exit Chalmers.)
(Knox rests his head despairingly on his hand,=
and
Margaret, pausing and looking at him sadly for a moment, crosses to him, st=
ands
beside him, and caresses his hair.)
{Margaret}
It is hard, I know, dear. And it is hard for m=
e as
well.
{Knox}
It is so unnecessary.
{Margaret}
No, it is necessary. What you said last night,
when I was weak, was wise. We cannot steal from my child--
{Knox}
But if he gives you Tommy? Margaret
(Shaking her head.) Nor can we steal from any
other woman's child--from all the children of all the women. And other thin=
gs I
heard you say, and you were right. We cannot live by ourselves alone. We are
social animals. Our good and our ill--all is tied up with all humanity.
{Knox}
(Catching her hand and caressing it.) I do not
follow you. I hear your voice, but I do not know a word you say. Because I =
am
loving your voice--and you. I am so filled with love that there is no room =
for
anything else. And you, who yesterday were so remote and unattainable, are =
so
near and possible, so immediately possible. All you have to do is to say the
word, one little word. Say it.--Say it.
(He carries her hand to his lips and holds it
there.)
{Margaret}
(Wistfully.) I should like to. I should like t=
o.
But I can't.
{Knox}
You must.
{Margaret}
There are other and greater things that say mu=
st
to me. Oh, my dear, have you forgotten them? Things you yourself have spoke=
n to
me--the great stinging things of the spirit, that are greater than you and =
I,
greater even than our love.
{Knox}
I exhaust my arguments--but still I love you.<= o:p>
{Margaret}
And I love you for it.
(Chalmers enters from right, and sees Margaret
still caressing Knox's hair.)
{Chalmers}
(With mild elation, touched with sarcasm.) Ah,=
I
see you have taken my advice, and reached a decision.
(They do not answer. Margaret moves slowly away
and seats herself.) (Knox remains with head bowed on hand.) No?
(Margaret shakes her head.) Well, I've thought= it over, and I've changed my terms. Madge, go with Knox, take Tommy with you.<= o:p>
(Margaret wavers, but Knox, head bowed on hand,
does not see her.) There will be no scandal. I'll give you a proper divorce=
. And
you can have Tommy.
{Knox}
(Suddenly raising his head, joyfully, pleading=
ly.)
Margaret!
(Margaret is swayed, but does not speak.)
{Chalmers}
You and I never hit it off together any too
extraordinarily well, Madge; but I'm not altogether a bad sort. I am
easy-going. I always have been easy-going. I'll make everything easy for yo=
u now.
But you see the fix I am in. You love another man, and I simply must regain
those letters. It is more important than you realize.
{Margaret}
(Incisively.) You make me realize how important
those letters are.
{Knox}
Give him the letters, Margaret
{Chalmers}
So she hasn't turned them over to you yet?
{Margaret}
No; I still have them.
{Knox}
Give them to him.
{Chalmers}
Selling out for a petticoat. A pretty reformer=
.
{Knox} (Proudly.)
A better lover.
{Margaret}
(To Chalmers.)
He is weak to-day. What of it? He was strong l=
ast
night. He will win back his strength again. It is human to be weak. And in =
his very
weakness now, I have my pride, for it is the weakness of love. God knows I =
have
been weak, and I am not ashamed of it. It was the weakness of love. It is h=
ard
to stifle one's womanhood always with morality. (Quickly.)
But do not mistake, Tom. This of mine is no
conventional morality. I do not care about nasty gossipy tongues and sensat=
ion-mongering
sheets; nor do I care what any persons of all the persons I know, would say=
if
I went away with Mr. Knox this instant. I would go, and go gladly and proud=
ly
with him, divorce or no divorce, scandal or scandal triple-fold--if--if no =
one
else were hurt by what I did. (To Knox.)
Howard, I tell you that I would go with you no=
w,
in all willingness and joy, with May-time and the songs of all singing bird=
s in
my heart--were it not for the others. But there is a higher morality. We mu=
st
not hurt those others. We dare not steal our happiness from them. The future
belongs to them, and we must not, dare not, sacrifice that future nor give =
it
in pledge for our own happiness. Last night I came to you. I was weak--yes;=
more
than that--I was ignorant. I did not know, even as late as last night, the
monstrous vileness, the consummate wickedness of present-day conditions. I
learned that today, this morning, and now. I learned that the morality of t=
he
Church was a pretense. Far deeper than it, and vastly more powerful, was th=
e morality
of the dollar. My father, my family, my husband, were willing to condone wh=
at
they believed was my adultery. And for what? For a few scraps of paper that=
to
them represented only the privilege to plunder, the privilege to steal from=
the
people.
(To Chalmers.) Here are you, Tom, not only wil=
ling
and eager to give me into the arms of the man you believe my lover, but you=
throw
in your boy--your child and mine--to make it good measure and acceptable. A=
nd
for what? Love of some woman?--any woman? No. Love of humanity? No. Love of
God? No. Then for what? For the privilege of perpetuating your stealing from
the people--money, bread and butter, hats, shoes, and stockings--for steali=
ng
all these things from the people.
(To Knox.) Now, and at last, do I realize how
stern and awful is the fight that must be waged--the fight in which you and=
I,
Howard, must play our parts and play them bravely and uncomplainingly--you =
as
well as I, but I even more than you. This is the den of thieves. I am a chi=
ld
of thieves. All my family is composed of thieves. I have been fed and reare=
d on
the fruits of thievery. I have been a party to it all my life. Somebody mus=
t cease
from this theft, and it is I. And you must help me, Howard.
{Chalmers}
(Emitting a low long whistle.) Strange that you
never went into the suffragette business. With such speech-making ability y=
ou would
have been a shining light.
{Knox}
(Sadly.) The worst of it is, Margaret, you are
right. But it is hard that we cannot be happy save by stealing from the hap=
piness
of others. Yet it hurts, deep down and terribly, to forego you. (Margaret
thanks him with her eyes.)
{Chalmers}
(Sarcastically.) Oh, believe me, I am not too
anxious to give up my wife. Look at her. She's a pretty good woman for any =
man
to possess.
{Margaret}
Tom, I'll accept a quiet divorce, marry Mr. Kn=
ox,
and take Tommy with me--on one consideration.
{Chalmers}
And what is that?
{Margaret}
That I retain the letters. They are to be used=
in
his speech this afternoon.
{Chalmers}
No they're not.
{Margaret}
Whatever happens, do whatever worst you can
possibly do, that speech will be given this afternoon. Your worst to me wil=
l be
none too great a price for me to pay.
{Chalmers}
No letters, no divorce, no Tommy, nothing.
{Margaret}
Then will you compel me to remain here. I have
done nothing wrong, and I don't imagine you will make a scandal.
(Enter Linda at right rear, pausing and looking
inquiringly.) There they are now.
(To Linda.) Yes; give them to me.
(Linda, advancing, draws package of documents =
from
her breast. As she is handing them to Margaret, Chalmers attempts to seise =
them.)
{Knox}
(Springing forward and thrusting Chalmers back=
.)
That you shall not!
(Chalmers is afflicted with heart-seizure, and
staggers.)
{Margaret}
(Maternally, solicitously.) Tom, don't! Your
heart! Be careful!
(Chalmers starts to stagger toward bell) Howar=
d!
Stop him! Don't let him ring, or the servants will get the letters away from
us. (Knox starts to interpose, but Chalmers, growing weaker, sinks into a
chair, head thrown back and legs out straight before him.) Linda, a glass of
water.
(Linda gives documents to Margaret, and makes
running exit to right rear.) (Margaret bends anxiously over Chalmers.) (A
pause.)
{Knox}
(Touching her hand.) Give them to me.
(Margaret gives him the documents, which he ho=
lds
in his hand, at the same time she thanks him with her eyes.) (Enter Linda w=
ith glass
of water, which she hands to Margaret.) (Margaret tries to place the glass =
to
Chalmer's lips.)
{Chalmers}
(Dashing the glass violently from her hand to =
the
floor and speaking in smothered voice.) Bring me a whiskey and soda.
(Linda looks at Margaret interrogatively. Marg=
aret
is undecided what to say, shrugs her shoulders in helplessness, and nods he=
r head.)
(Linda makes hurried exit to right.)
{Margaret}
(To Knox.) You will go now and you will give t=
he
speech.
{Knox}
(Placing documents in inside coat pocket.) I w=
ill
give the speech.
{Margaret}
And all the forces making for the good time co=
ming
will be quickened by your words. Let the voices of the millions be in it.
(Chalmers, legs still stretched out, laughs
cynically.)
You know where my heart lies. Some day, in all
pride and honor, stealing from no one, hurting no one, we shall come
together--to be together always.
{Knox}
(Drearily.) And in the meantime?
{Margaret}
We must wait
{Knox}
(Decidedly.) We will wait.
{Chalmers}
(Straightening up.) For me to die? eh?
(During the following speech Linda enters from
right with whiskey and soda and gives it to Chalmers, who thirstily drinks =
half
of it. Margaret dismisses Linda with her eyes, and Linda makes exit to right
rear.)
{Knox}
I hadn't that in mind, but now that you mention
it, it seems to the point. That heart of yours isn't going to carry you much
farther. You have played fast and loose with it as with everything else. You
are like the carter who steals hay from his horse that he may gamble. You h=
ave
stolen from your heart. Some day, soon, like the horse, it will quit We can
afford to wait. It won't be long.
{Chalmers}
(After laughing incredulously and sipping his
whiskey.) Well, Knox, neither of us wins. You don't get the woman. Neither =
do
I. She remains under my roof, and I fancy that is about all. I won't divorce
her. What's the good? But I've got her tied hard and fast by Tommy. You won=
't
get her.
(Knox, ignoring hint, goes to right rear and
pauses in doorway.)
{Margaret}
Work. Bravely work. You are my knight. Go.
(Knox makes exit.)
(Margaret stands quietly, face averted from
audience and turned toward where Knox was last to be seen.)
{Chalmers}
Madge.
(Margaret neither moves nor answers.) I say,
Madge.
(He stands up and moves toward her, holding
whiskey glass in one hand.) That speech is going to make a devil of a row. =
But
I don't think it will be so bad as your father says. It looks pretty dark, =
but
such things blow over. They always do blow over. And so with you and me. Ma=
ybe
we can manage to forget all this and patch it up somehow.
(She gives no sign that she is aware of his ex=
istence.)
Why don't you speak? (Pause.)
(He touches her arm.) Madge.
{Margaret}
(Turning upon him in a blase of wrath and with
unutterable loathing.)
Don't touch me!
(Chalmers recoils.)
=
Curtain
www.freeclassicebooks.com=